I think mango you say salmon, 2016, Annka Kultys Gallery, Installation vew







T.P. 2017, studio installation view










Solo Exhibitions
2016     I think mango you say salmon, Annka Kultys Gallery, London    
2015     Walking on the beach imitating sand, Hus Gallery, London         
2014     HERE'S LOOKING AT YOU, Lychee One Gallery, London        

Group Exhibitions
2018     TBA, ANDOR Gallery, London       : cur  George Unsworth
2017     Delta, ICPE, Bucharest
2017     Risky Attachments, FOOTHOLD, Polignano a Mare       : cur  Like a little disaster
2017     Post - Living Room, Shibuya Hikarie 8/ Cube 1.2.3, Tokyo       : cur  Sprout Curation + Tomio Koyama 
2017     SQUISHY: eels swim in snakey, Julius, Berlin      : cur  Àngels Miralda       
2017     Lightness, White Rainbow Gallery, London            
2017     Still Fuzz, Windows16 Gallery, online
2017     LCN Showcase, Space, London       
2016     Off to Mahoganny, Rye Lane, London        : cur  Canan Batur (Clearview.ltd)
2016     Suggest The Shape of The Wind, Nam Project, Milan
2016     Aujourd'hui je dis oui, Galeria Boavista, Lisbon                    
2015     What is a bird? We simply don’t know, Nicodim Gallery, Bucharest        : cur  Domenico de Chirico
2015     Future can wait, B1 Victoria House, London
2014     In The Flesh, OBS Gallery, Kent
2013     The Open West, Cheltenham Museum, Cheltenham  






Easy One, 2016
nylon fabric, polyester fabric, silicone
powder coated steel, neodymium magnets
260 x 183 x 17 cm


I think mango you say salmon, 2015, studio installation view

Incriment #I, 2015
silicone, colorant, sand
123 x 112 x 9 cm

Rouben, 2017
silicone, expanding silicone, photochromic pigment
marble dust, PET-G
86 x 42 x 25 cm


Walking on the beach immitating sand, 2015, Hus Gallery, installation view



In one of the images I have been sent I can see the bust of a woman. Her face seems to be turned towards a piece of cloth, a towel of steined chamois leather, or a soft canvas, that hangs on the wall. It remains almost invisible to me, but her hair, assembled into a small heap, suggests that she is not a loose woman. She knows what she wants without being selfish, without projecting only her own image onto the screen in front of her. She wants to look at something intently. She wants to take it seriously. Or she wants the screen to make her dream, but not frivolously. She wants to look out the window. It is only a white bust, a neck and a head emerging out of a malleable mass of wax, perhaps even carved out of marble, with a strange protuberance on the upper part of the girl’s back that the artist has not removed and that resembles the stump of an oddly placed wing, like the central engine on an MD11. The other object is only a white surface, perhaps the remainder of a faded photograph, or a sculpture of a photograph. What if she were sitting in a plane, as I am right now, lying over the sunny landscape of the South of France in early autumn? She remembers a day she spent in Aix a few years ago and looks forward to a short trip to the surroundings of Arles in two weeks time. I hope she will forgive me for indulging a pun. Now that I have begun to study her, the name Aix suggests to me the French word for peace, paix. May I call her Arlette? On the one hand, she invites me to imagine a scene, though she would recoil almost imperceptibly if I were so tactless as to make a scene and thereby ll the space and the time that stretch between us. This is not the bust of a woman who makes, or before whom one makes, a scene. Yet an installation – and here two artists working together, a sculptor and a photographer, have installed a female bust opposite a sheet that has been loosely attached to a partition in a gallery – is always the imagination of a scene, and that’s why I tend to nd installations so tiresome. Installations turn correspondences into a heavy and bulky matter because they make them their main business. They are too embedded in the politics of meaning. On the other hand, she is so quiet, so present and so withdrawn, that she effortlessly undoes anything that would remind me of an instalation, of the willful and theatrical arrangement of elements charged with meaning and meant to create even more meaning. On the one hand, on the other hand – a bust has no hands, so she does not know what I am talking about, and why should she care in the first place? I cannot tire her out, no matter what I do or say. The lecher is a stalker, the lover belongs to the people who say good-bye. Why, I have fallen in love with her!

- Alexander García Düttmann




HERE'S LOOKING AT YOU, 2014, Lychee One Gallery, installation view

You have what you have #II, 2017
silicone, photochromic pigment
steel rod, resin, marble dust
23 x 17 x 16 cm


Ishin, 2017
polyproplene mesh, resin, polyester mesh, carbon rod
photochromic pigment, dye sublimation print
84 x 65 x 15 cm

You like this idea to be totally in love, 2017, studio installation view


2017    Schön! Magazine  interview I ittah yoda  by Daisy Schofield
2017    Sleek Magazine 15 Must-See exhibitions at Gallery Weekend 2017  by Sarah Lafer
2016    Tique art paper   Six questions: Ittah Yoda  by Charlotte Boeyden
2016     Art Asia Pacific   I think mango you say salmon  by Ambika Rajgopal
2016     Mousse Magazine   I think mango you say salmon 
2016     1 Grannary   Ittah Yoda and the Ying and Yang of the artist collaboration, by Aric Miller
2016     After Nyne Magazine   Ittah Yoda | Artist at play in the studio, by Laura Frances Green
2016     El Pais   A quién benefician las exposiciones solo para mujeres?, by Cristina Belda + Erika Astudillo
2015     AQNB   What is a bird?... @Nicodim  by Eva Folks
2015     Art Viewer   What is a bird? We simply don’t know at Nicodim Gallery
2014     We find wildness   Here’s Looking at you, by Sophoie Yerly

Residencies/ Grants/ Awards
2018     ISCP, NYC
2017     LCN, SPACE, London
2012     1 Year Program of Overseas Study for Upcoming Artists, Agency of Cultural Affairs, Bunka-cho, Japan 

2011-13   MFA, Royal College of Art, London


Ittah Yoda is an artist duo by Virgile Ittah (b.1981 Paris), and Kai Yoda (b.1982 Tokyo). We create installations that blur the lines between reality and fiction, through heightened senses of confusion and instability, questioning the relation and balance between human and technology within the ecosystem. With a particularly strong interest in haptics on
an emotional level, we consider our work as fragments of the human body and nature in a rhizomatic relation.

Adding digital process in our work recently, we include the error of the programme as a third creator, exploring matter and forms that question the boundaries between the human hand and the machine. Forgetting the historical past in relation to the notion of individuality and uniqueness, we explore the creation of new entities connected together under the form of a new ecological justice.

You have what you have, 2017
expanding silicone, photochromic pigment
silicone, resin, marble dust
23 (223) x 17 x 16 cm (set of 2)