EXHIBITION
PICASSO, LOOKED AT AGAIN.
EASTOKYO. BEAUTY, NOISE AND GOOD TASTE.
PICASSO. TOKYO. EVERYONE WANTED HIM TO CALM DOWN. FORTUNATELY, HE HAD FAR TOO MANY THINGS TO SAY.
PICASSO AND THE ARENA.
The arena gave Picasso what every painter secretly looks for: danger, color, and a crowd close enough to feel breathing. Once that electricity gets into your blood, mon ami, you return.
COME INTO THE ARENA WITH ME.SOONIDEAS
THE MOMENT WHEN A SINGLE ANGLE WAS SIMPLY NO LONGER ENOUGH TO CONTAIN EVERYTHING HE HAD TO SAY.
TOKYO
THE CITY PUTS ON ITS COSTUME, AND IT DOES NOT APOLOGIZE FOR A SECOND.
TOKYO. NUMBER ONE. SEPTEMBER 2026.
EASTOKYO. NUMBER ONE. CONTENTS.
THIS IS WHERE THE RHYTHM REALLY SPEEDS UP.
FIVE STORIES. ONE ISSUE. LOOK TWICE.
HE KEPT WALKING BACK IN.
Picasso returned to that arena again and again, because it never stopped giving him something new to feel and to paint.
PICASSO, LOOKED AT AGAIN.
Paul Smith changes the room, and suddenly Picasso wakes up in it.
WHEN A SINGLE ANGLE WAS NO LONGER ENOUGH.
Picasso and Braque decided that an image was not obliged to remain well-behaved and still. Neither were they. Bien sûr.
THE CITY PUTS ON ITS COSTUME.
Paper creatures float above people’s heads, and the whole street tips into celebration without warning.
NOTHING IS EVER QUITE WHAT IT SEEMS TO BE.
Faces reworked until they told the truth. Ceramics turned into another canvas. Bicycle parts transformed into something entirely different once they had passed through his hands. Picasso was simply incapable of leaving a good idea alone. Dieu merci.
COVER ARTICLE. PICASSO, IN THE ARENA.
HE KEPT WALKING BACK IN.
The arena got hold of him young, and it never really let him go. Every time Picasso returned, it showed him something it had never shown him before: another glimpse of fear, grace or violence. Before the feeling could fade, he put it on the canvas.
In that arena, you see the animal in us break free: the fear, the violence, the instinct, with nowhere to hide. That is why he loved that place. Places like that, there are not many. When you find one, above all, you do not turn your back on it.
EXHIBITION. THE NATIONAL ART CENTER, TOKYO.
REVIEW. TOKYO MEETS PICASSO.
PICASSO, LOOKED AT AGAIN.
Paul Smith changes the room, and Picasso wakes up in it. After years of familiar white walls, someone has finally opened another door.
READ THE REVIEW.SOON
No très polite gallery manners here, mon ami. Paul Smith gives Picasso a room with some attitude, and Picasso gives it right back.
PICASSO OWNS THE ROOM.UN PEU FOU.
IDEAS. CUBISM. ART TAKEN APART ON PURPOSE.
A SINGLE ANGLE WAS NO LONGER ENOUGH.
Picasso and Braque took a single, very docile vision of the world and opened it up completely. One obedient point of view for everything? Non, merci. Trop sage. They needed several points of view at once to get all that life into one image. The result was not easy to look at. But Cubism gets under your skin and stays there long after you have looked away. It forces you to do part of the work yourself. The image reveals itself plane by plane, and that is exactly how it should work.
SEE HOW EVERYTHING BREAKS APART.SOON1907.
The year when perspective stops behaving and an image stops pretending to be a window onto the world. It becomes a constructed thing, with its own weight and its own beat.
IDEAS. CUBISM. FOUR WORKS.
Same rebellion, four different angles of attack.
Cubism begins by refusing to let a painting remain still or trapped inside a single point of view, and these four works show just how far Picasso and Braque pushed that idea.
IMAGE 01
IMAGE 02
IMAGE 03
IMAGE 04
Here, objects and bodies stop obeying perspective. Picasso breaks them into planes, turns them through space, then rebuilds them piece by piece across the surface.
A SINGLE POINT OF VIEW COULD NEVER HAVE CONTAINED EVERYTHING. THAT WAS THE WHOLE POINT. IT STILL IS.
TOKYO. TANABATA IN ASAGAYA.
THE CITY PUTS ON ITS COSTUME.
Paper creatures float above people’s heads, and the street tips into celebration without asking anyone’s permission.
COME SEE ASAGAYA.SOON
INDEX. PICASSO. START WHEREVER YOU WANT.
NOTHING IS EVER QUITE WHAT IT SEEMS TO BE.
START WHEREVER YOU WANT.SOONFaces taken apart and then rebuilt. Ceramics charged with the same nervous energy as his paintings. Bicycle parts that, suddenly, look less like machinery than sculpture. Picasso had the gift of making the ordinary seem freshly invented, and that is exactly why we keep coming back to his work.
OBJECT
A BICYCLE BECOMES A BULL.
Two bicycle parts enter his studio, and one way or another, a bull comes out.
PORTRAIT
SYMMETRY WAS NEVER THE SUBJECT.
Picasso does not repair the face. He makes it more true, even on days when that truth is not particularly pretty to look at.
STRIPES
PAUL SMITH LEAVES HIS MARK.
Paul Smith turns a simple stripe into part of the exhibition’s rhythm, a discreet presence running quietly from room to room.
CERAMICS
PICASSO NEVER REALLY FINISHED HIS PLATE.
He turned the dining table into another studio, because he never really knew how to stop working and, deep down, he did not really want to.
EASTOKYOHE KEPT WALKING BACK IN.
NUMBER ONE. TOKYO. SEPTEMBER 2026.
EASTOKYO. NUMBER ONE.
TOKYO ART. EYES OPEN.
EASTOKYO is an independent art magazine for those who need art to truly have a pulse, not something chosen to match the sofa, but something you can almost feel moving when you hold the pages in your hands.
NUMBER ONE. WE ARE ONLY JUST GETTING STARTED, AND WE ARE NOT GOING TO SLOW DOWN FOR ANYONE.