The installation involved a wall sized charcoal drawing from a tourist photo of the Yasukuni Shrine, and smaller size drawings of selected frames from the movie Hiroshima Mon Amour. These were placed in juxtaposition with edited videoloops of the 1959 movie directed by French director Alain Resnais and written by French author Marguerite Duras.
By placing an everyday image (a tourist photo) together with images from an opposite historical viewpoint, the installation challenges the viewer to contemplate the complexities and contradictions that exist within our understanding of history and memory. It encourages the audience to engage with diverse viewpoints and question their own preconceptions.
The Yasukuni Shrine and the movie Hiroshima mon amour represent two dark and controversial aspects of war history. While both are unpleasant truths, they focus on different events and hold distinct perspectives.
“The Tower”, part of ongoing drawings for the Collected Landscapes.
“Sign” Videoloop, part of the Collected landscapes.
The Yasukuni Shrine, located in Tokyo, Japan, is a controversial memorial that honors those who have died in service of Japan, including war criminals from the Sino-Japanese War and World War II. The inclusion of war criminals at the shrine has caused tensions with Japan’s neighboring countries, particularly China and South Korea, as it is seen as a symbol of Japan’s past militarism and aggression.
On the other hand, Hiroshima mon amour, directed by Alain Resnais, is a French film released in 1959. It tells the story of a French actress and a Japanese man who engage in a brief, intense love affair in Hiroshima. The movie explores the emotional aftermath and trauma experienced by the survivors of the atomic bombing of Hiroshima in 1945. It reflects on the devastating impact of war and the importance of remembering and understanding its consequences.
In a way, they can be seen as symbolic representations of the opposing perspectives in war history. The Yasukuni Shrine represents Japan’s internal struggle and attempt to honor its fallen soldiers, including controversial figures, while also raising international tensions. Hiroshima mon amour, on the other hand, provides a perspective from an outside, empathetic angle, highlighting the devastation caused by war and the need for healing and remembrance.
“Untitled”, part of ongoing drawings for the Collected Landscapes.