Art + Culture

Celebrated, outstanding, endogenous artist HASHIMOTO Satoshi @ AOYAMA MEGURO, Tokyo HASHIMOTO Satoshi 橋本聡『なくなる』"Be Gone" @ 青山|目黒 AOYAMA | MEGURO

橋本聡 HASHIMOTO Satoshi "You Can Cut Yourself" 2016. Knife, instructions, visitors. Dimension variables.
橋本聡 HASHIMOTO Satoshi "You Can Cut Yourself" 2016. Knife, instructions, visitors. Dimension variables.
橋本聡 HASHIMOTO Satoshi, executing at LISTE ART FAIR BASEL You Can Cut Yourself 2016. Knife, instructions, visitors. Dimension variables.
橋本聡 HASHIMOTO Satoshi, executing “You Can Cut Yourself” 2016 @ LISTE ART FAIR BASEL. Knife, instructions, visitors. Dimension variables.
橋本聡 HASHIMOTO Satoshi “Fw THERMONUCLEAR ART – THE SUN IN ULTRA-HIGH DEFINITION (4K) VIDEO” 2017, Video NASA, detail
橋本聡 HASHIMOTO Satoshi “Fw: THERMONUCLEAR ART – THE SUN IN ULTRA-HIGH DEFINITION (4K) VIDEO” 2017, Video: NASA, detail
橋本聡 HASHIMOTO Satoshi “Fw THERMONUCLEAR ART – THE SUN IN ULTRA-HIGH DEFINITION (4K) VIDEO” 2017, Video NASA
橋本聡 HASHIMOTO Satoshi “Fw: THERMONUCLEAR ART – THE SUN IN ULTRA-HIGH DEFINITION (4K) VIDEO” 2017, Video: NASA
橋本聡 HASHIMOTO Satoshi “Fw Other Side of the Moon” 2014, photo of the other side of the moon, detail
橋本聡 HASHIMOTO Satoshi “Fw: Other Side of the Moon” 2014, photo of the other side of the moon, detail
橋本聡 HASHIMOTO Satoshi Other Side of the Moon 2014, photo of the other side of the moon
橋本聡 HASHIMOTO Satoshi “Fw Other Side of the Moon” 2014, photo of the other side of the moon
橋本聡 HASHIMOTO Satoshi “Fw: Other Side of the Moon” 2014, photo of the other side of the moon

There is no dark side of the moon really.
As a matter of fact it’s all dark.

All you create
All you destroy
All that you do
All that you say.

All that you eat
everyone you meet
All that you slight
everyone you fight.
All that is now
All that is gone
All that’s to come
and everything under the sun is in tune
but the sun is eclipsed by the moon.

橋本聡 HASHIMOTO Satoshi “Eclipse Observation” 2017. Gold plated pipe, detail
橋本聡 HASHIMOTO Satoshi “Eclipse Observation” 2017. Gold plated pipe, detail
橋本聡 HASHIMOTO Satoshi “Eclipse Observation” 2017. Gold plated pipe
橋本聡 HASHIMOTO Satoshi “Eclipse Observation” 2017. Gold plated pipe
橋本聡 HASHIMOTO Satoshi “Eclipse Observation” 2017. Gold plated pipe, inside
橋本聡 HASHIMOTO Satoshi “Eclipse Observation” 2017. Gold plated pipe, inside
橋本聡 HASHIMOTO Satoshi “A large amount of 1 yen coins galaxy” 1955-
橋本聡 HASHIMOTO Satoshi “A large amount of 1 yen coins: galaxy” 1955 –
HASHIMOTO Satoshi 橋本聡 “This is a sphere slightly smaller than the Earth” (Sphere picked up on a riverbank) 20th century
HASHIMOTO Satoshi 橋本聡 “This is a sphere slightly smaller than the Earth” (Sphere picked up on a riverbank) 20th century

Celebrated artist HASHIMOTO Satoshi 橋本聡 did it again. The actual solo exhibition, titled “Be Gone”『なくなる』at AOYAMA | MEGURO 青山|目黒 underscores his outstanding status as one of Japan’s most exciting and engaging artists.

HASHIMOTO Satoshi
HASHIMOTO Satoshi 橋本聡 “Number of deaths yesterday: 33 Number of visitors today: 33” (2018) (Statistics). Solo exhibition “Be Gone” 2024 @ AOYAMA | MEGURO

Every time we contemplate or participate head-on in his instructive work, we are reminded of the universal realm of the kind of inspiration Hashimoto is trying to bring to us. It stimulates our brains and enhances our cognitive, intellectual and emotional potential.
At times, we discover suggestions on educational issues, at other times we laugh at the advice to stop watching Japanese television or stop playing video games. At other occasions we are forced to do things we would never normally do, and feel insecure/uncertain how to react. Often, lunatic-wise instructions cause our soul and brain to unconsciously react in ways that are outside the “norm” / “common sense”. All because of Japanese artist ONO Yoko who revolutionised artistic practice in the global art world. Her “GRAPEFRUIT instructions” had far-reaching implications for every, seriously practicing, contemporary artist. The notion of radical breaks with traditional painters or sculptors by Ono captures what is often thought of as “thinking and acting outside of the white cube”, and reframing utopian “problems” to find new and unique solutions for realists, philosophers, visionaries, activists and day-dreamers.
Another person of extremely important relevance is Serbian conceptual artist and performer Marina Abramović. The risk-taking actions by her may have influenced Hashimoto, giving him a Christian-related ‘Absolution’, so to speak. To do whatever he likes to do, art for art’s SAKE. On the other side, Hashimoto’s interactive performative character injects a welcome communication-tool with other exhibition visitors, too, bringing much pleasure and enjoyment.

橋本聡 HASHIMOTO Satoshi “YOU CAN LIGHT ARTWORKS OR VIEWERS BY USING THE MIRROR TO REFLECT THE SPOTLIGHT” March 2016 @ Museum of Contemporary Art Tokyo, MOT. Part of the installation
橋本聡 HASHIMOTO Satoshi “YOU CAN LIGHT ARTWORKS OR VIEWERS BY USING THE MIRROR TO REFLECT THE SPOTLIGHT” March 2016 @ Museum of Contemporary Art Tokyo, MOT. Part of the installation
LISTE ART FAIR BASEL, AOYAMA MEGURO booth woth solo show by HASHIMOTO Satoshi
LISTE ART FAIR BASEL, Switzerland. AOYAMA MEGURO booth with solo show by HASHIMOTO Satoshi in 2016
Hashimoto interacting with visitor
Hashimoto interacting with visitor
Miwa Taguchi (Taguchi Art Collection) enjoying the interactive work by Hashimoto
Miwa Taguchi (Taguchi Art Collection) enjoying the interactive work by Hashimoto
PUSH ME DOWN 〜 STAND ME UP
PUSH ME DOWN 〜 STAND ME UP
橋本聡 HASHIMOTO Satoshi, 2024 work, detail
橋本聡 HASHIMOTO Satoshi, 2024 work, detail
橋本聡 HASHIMOTO Satoshi, 2024 works, like Gradually losing hearing, Gradually Losing sight, Someday, forgotten…
橋本聡 HASHIMOTO Satoshi, 2024 works, like “Gradually losing hearing”, “Gradually losing sight”, “Someday, forgotten” …
HASHIMOTO Satoshi 橋本聡
HASHIMOTO Satoshi 橋本聡 “It becomes dark, the ground vanishes” Ground, 2024 @ “Be Gone” AOYAMA | MEGURO 2024
橋本聡 HASHIMOTO Satoshi “Black Square Kazimir Malevich 1915” 2017 Ena Magota Acrylic on canvas 80 x 80 cm, detail
橋本聡 HASHIMOTO Satoshi “Black Square Kazimir Malevich 1915” 2017: Ena Magota / Acrylic on canvas / 80 x 80 cm, detail
橋本聡 HASHIMOTO Satoshi “Black Square Kazimir Malevich 1915” 2017 Ena Magota Acrylic on canvas 80 x 80 cm
橋本聡 HASHIMOTO Satoshi “Black Square Kazimir Malevich 1915” 2017: Ena Magota / Acrylic on canvas / 80 x 80 cm
橋本聡 HASHIMOTO Satoshi “COVER YOUR MOUTH WITH TAPE” 2012
橋本聡 HASHIMOTO Satoshi “COVER YOUR MOUTH WITH TAPE” 2012 (LISTE ART FAIR BASEL, Switzerland)
LISTE ART FAIR BASEL 2016
LISTE ART FAIR BASEL 2016
LISTE ART FAIR BASEL
橋本聡 HASHIMOTO Satoshi “COVER YOUR MOUTH WITH TAPE” 2012 (LISTE ART FAIR BASEL, Switzerland 2016)
橋本聡 HASHIMOTO Satoshi “COVER YOUR MOUTH WITH TAPE” 2012 (LISTE ART FAIR BASEL, Switzerland 2016)
橋本聡 HASHIMOTO Satoshi “COVER YOUR MOUTH WITH TAPE” 2012 (LISTE ART FAIR BASEL, Switzerland 2016) a
橋本聡 HASHIMOTO Satoshi “COVER YOUR MOUTH WITH TAPE” 2012 (LISTE ART FAIR BASEL, Switzerland 2016)
橋本聡 HASHIMOTO Satoshi “COVER YOUR MOUTH WITH TAPE” 2012 (LISTE ART FAIR BASEL, Switzerland 2016) b
橋本聡 HASHIMOTO Satoshi “COVER YOUR MOUTH WITH TAPE” 2012 (LISTE ART FAIR BASEL, Switzerland 2016)

Hashimoto asks himself, what am I in this vast universe? Is there a pure view of art – free of socio-politics?
In our times, which are strongly characterised by questions of identity politics, especially with regard to Taiwan, Ukraine or Palestine, we also look for answers in art. But can art solve the problems of humanity? Could ‘something arty’ have prevented fatal Trump’s quasi-assassination?
Hardly. The “ordinary” citizen is specifically interested in nationality, ethnicity, skin colour, racial identity, politics, economics, job-security, social welfare, health insurance, sex, music, food, TV and not art.
Whether the religious identity politics in Islam or in Japan with its Shinto-Religion, whether the ethnic-cultural identity for Okinawa-people and its claim to ownership by China, whether universalism can provide an answer to the precarious notion towards the “Person of Colour” (which, nota bene!, Japanese people see something from the “West”; Japanese do not regard themselves as POC), are questions that art cannot and will not answer.
In his works, Hashimoto touches on identity politics with its intention of a universal “truth to power” in an abstract contextual structure.

橋本聡 HASHIMOTO Satoshi
橋本聡 HASHIMOTO Satoshi “RIO + TOKYO = ECLIPSE” 2016. Print on paper // “Fw: Istanbul Olympics 2020” 2016. Print on paper // “Fw: Tokyo Olympics 2020” 2016. Print on paper // Above, left: 橋本聡 HASHIMOTO Satoshi “Untitled (Perfect Lovers) Felix Gonzales-Torres 1991. Clocks”, “Untitled (Rio Tokyo)” 2016. Clocks
Gonzales-Torres
橋本聡 HASHIMOTO Satoshi Fw One Person in Three is Either Chinese or Indian 2014. Text
橋本聡 HASHIMOTO Satoshi “Fw: One Person in Three is Either Chinese or Indian” 2014. Text, “Fw: The World’s Three Major Religions: Christianity, Islam, Buddhism” 2014. Text
橋本聡 HASHIMOTO Satoshi solo show @ AOYAMA | MEGURO 青山|目黒 2017
橋本聡 HASHIMOTO Satoshi solo show @ AOYAMA | MEGURO 青山|目黒 2017

At the same time, he does not shy away from instrumentalising the methodology of the “dirty comedian”. Because, in addition to the intellectual impetus, the exhibition visitor wants to be entertained, too. In other words, we need to be able to laugh at ourselves. Hashimoto masters this dialectical game of vilification and recognition perfectly.
Artists are allowed to cross (moral) boundaries, the supposed victim allows this temporary, brief violation of boundaries and experiences a certain, pleasant catharsis as a result.
Nessun maggior dolore che ricordarsi del tempo felice nella miseria.
No greater sorrow than to remember the happy time in misery.
Therefore we ❤️ HASHIMOTO Satoshi.

橋本聡 HASHIMOTO Satoshi Fw Measurement of Body Weight 2014. Weight scale
橋本聡 HASHIMOTO Satoshi “Fw: Measurement of Body Weight” 2014. Weight scale
橋本聡 HASHIMOTO Satoshi Fw Measurement of Body Weight 2014. Weight scale. 1-3
橋本聡 HASHIMOTO Satoshi “Fw: Measurement of Body Weight” 2014. Weight scale. 1/3
橋本聡 HASHIMOTO Satoshi Fw Measurement of Body Weight 2014. Weight scale. 2-3
橋本聡 HASHIMOTO Satoshi “Fw: Measurement of Body Weight” 2014. Weight scale. 2/3
橋本聡 HASHIMOTO Satoshi Fw Measurement of Body Weight 2014. Weight scale. 3-3
橋本聡 HASHIMOTO Satoshi “Fw: Measurement of Body Weight” 2014. Weight scale. 3/3

Hashimoto’s constant search for the true meaning of his artistic practice involves scientia spiritualis, as it recognises sources of knowledge beyond those accepted by modern epistemology, such as divine revelations and intellectual intuition. I, as a human being, cannot be detached from my circumstance, social environment, ergo the actual world (politics). Yet, Hashimoto’s philosophy implies a critical duty to lay siege to beliefs in order to promote new (utopian) ideas and to explain, challenge the common reality. To accomplish such tasks, the artist should leave behind prejudices and previously existing beliefs, and investigate the essential reality of the universe.
I remember well my friend Wim Wenders’ existential question in 1982: “Is cinema a language about to get lost, an art form about to die?”. In the small hotel ‘Room 666’ at the Cannes Film Festival his colleagues, Godard, Fassbinder, Spielberg, Antonioni, Herzog, and more, tried in vain to give an answer. However, I have to admit that I envy these filmmakers, as they can use “misleading” music to easily facilitate an emotional feeling.
Link_https://www.youtube.com/watch?v=hn37QfXw1-E
APOCALYPSE NOW Clip – Ride of the Valkyries (1979) Francis Ford Coppola

Link_https://www.youtube.com/watch?v=gztBFzKbnwM
The Ultimate Revenge | Final Duel | Once Upon a Time in the West |

Myself tried to give several answers in multiple ways, manifestos, articles or by creating a work called “心 when art is over” (心 means “heart”, “emotional state”), contextualised via connotation.

Hashimoto metaphorically points out to the human species to take care of the Earth, recognise that we are, simply said, part of the plant and animal world thus leaving future generations with a biosphere that is as rich and diverse as the one we inherited.
Hashimoto: How should we distribute the associated costs between poor and rich nations, between producers and consumers, and between institutions and individuals?
In this dilemma of dealing with timely and continental divergent developed Modernisms in each country of the world, the contemporary European with the attitude citoyenne, social-market-capitalism provoked by European Industrial Revolution with which Japan is a dominant part of, tries to give answer. Less the U.S. with its mostly unintellectual citizens, who not only symbolise the tyranny of the majority but the collective mediocrity of the masses; with its doctrine ‘extra ecclesiam nulla salus’. We need an ethically plausible alternative narrative in co-existentialism, before we ever give up on the egalitarian one, a narrative that is more “honest” about human dominance, and also gives guidance on our moral responsibilities towards other species, helping us to avoid a sterile ‘woke vs anti-woke’ polarisation.

橋本聡 HASHIMOTO Satoshi Fw The Successive Presidents of the United States of America 2014
橋本聡 HASHIMOTO Satoshi “Fw: The Successive Presidents of the United States of America” 2014
橋本聡 HASHIMOTO Satoshi White Note (dollar) 2008. The U.S. dollar bill using sandpaper
橋本聡 HASHIMOTO Satoshi “White Note (dollar)” 2008. The U.S. dollar bill using sandpaper
橋本聡 HASHIMOTO Satoshi White Note Alberto Giacometti 2016. The Swiss franc banknote using sandpaper
橋本聡 HASHIMOTO Satoshi “White Note: Alberto Giacometti” 2016. The Swiss franc banknote using sandpaper
Handwriting
Handwriting
橋本聡 HASHIMOTO Satoshi Paint yourself 2011 2016. Spray can, instructions, visitors
橋本聡 HASHIMOTO Satoshi “Paint yourself” 2011/2016. Spray can, instructions, visitors

Besides the tension between the “Global South” and “Global North, which the Japanese people are part of”, Hashimoto tries to avoid endogenous, self-referential artistic practice. However, from my point of view, an extremely difficult task, as he acts consciously as an artist who belongs to both, the local and global art industry.
Throughout the years, we actually recognise, the exhibition audience is partly drawn from the gloomy side of Hashimoto’s orbit.
In this juxtaposition between Nihilism and Te Deum, the artist is trying to push the boundaries of possibilities in art practice. Sometimes implying an institutional critique, concomitantly without loosing the balance in (social) obstruction versus beautiful aesthetics.
Because attractive, cool guy SATOSHI plays the DJ IN DA ARTY HOUSE.
Stop breathing. You can cut yourself. Don’t obstruct my instructions. Cogito, ergo sum. Extra ecclesiam nullus omnino salvatur, as representation to reality, the appearance to the essence becomes obsolete. Certainly for the present age, which prefers the sign to the thing signifiers, the copy to the original, representation to reality, simulacra appears to be what matters. Interestingly, illusion is held to be enhanced in proportion as truth decreases and illusion increase, so that the highest degree of illusion comes to be the highest degree of profane artistic enlightenment.

橋本聡 HASHIMOTO Satoshi “RED” 2016. Lighting, instructions
橋本聡 HASHIMOTO Satoshi “RED” 2016. Lighting, instructions

Whereby I certainly consider Kant’s epistemology through the masterpiece “Traffic Signal”, Hashimoto’s artistic simulacra from 2006, as a debate discourse to be an inescapable method of confrontation in the broader concept of art, namely Beuys’ “Erweiterter Kunstbegriff”.

橋本聡 HASHIMOTO Satoshi “Traffic Signal” 2006 2017. Video
橋本聡 HASHIMOTO Satoshi “Traffic Signal” 2006/2017. Video

Hashimoto has often translated his instructions into asphyxiating levels of intervention, regulation, thereby severely punishing the exhibition visitor in any “ease of contemplating art” ranking.

橋本聡 HASHIMOTO Satoshi An Apple (Tell, Newton, Cinderella) 2017. An Apple, knife, performer, photo print
橋本聡 HASHIMOTO Satoshi “An Apple (Tell, Newton, Cinderella)” 2017. An Apple, knife, performer, photo print

He likes to see a little blood bleeding, (only a bit), like the bleeding ear of miraculously survived Donald J. Trump.

橋本聡 HASHIMOTO Satoshi Fw Hillary Clinton 2016 Fw Donald Trump 2016
橋本聡 HASHIMOTO Satoshi “Fw: Hillary Clinton” 2016, “Fw: Donald Trump” 2016

Experience deleterious revolt against everything authoritarian, suggesting a subtle Code Noir as a Japanese.

blue
橋本聡 HASHIMOTO Satoshi “You shall reincarnate as blue paint after death” After death. Prophecy, right: “You shall reincarnate as red paint after death” After death. Prophecy

One of his major inconsequences that pervades several of his actions is that there is a dark side to human nature which is more pervasive than he may realise, and has the power to “do us in” at each instructive experience.

HASHIMOTO Satoshi 橋本聡 “One day this stone shall shatter humanity” One day. Stone, humanity
HASHIMOTO Satoshi 橋本聡 “One day this stone shall shatter humanity” One day. 2022. Stone, humanity

In Hashimoto’s oxymoronic actions lies the “kafkaesque charm” of the inconceivability in his instruction to ultimately make a definitive cognitive statement about a performative artwork.

HASHIMOTO Satoshi 橋本聡 “Or right or left
HASHIMOTO Satoshi 橋本聡 “Or right or left” 2018. Squared timber, right, left @ “Be Gone” AOYAMA | MEGURO 2024

This hidden parallax aspect, which initially cannot be perceived by the viewer due to the psychotic impossibility of virtuality, symbolises for Hashimoto a philosophical depth of meaning that aims to illuminate life and convey it to people.
Twisting in his sobriety, aka incarnation of DA VINCI, Hashimoto proclaims that you and me can’t be detached from our circumstances. In other words, the “social contract”, which had been chosen for me by GOD, for example the state called Japan with its GOD-Emperor NARUHITO, has to be taken into consideration. The state per se could be oppressive and should be understood as a continual dialectical interaction between me and progressionem amet. Simultaneously, the experienced, not-so-stupid-viewer might recognise Hashimoto’s cynical approach towards politicians.

55h
橋本聡 HASHIMOTO Satoshi “Fw: Diet Members, a Prime Minister and Ministers of State in Japan” 2014. Web pages of diet members, a Prime Minister and ministers of state

As life is boring, the consequences of personal revolt, the evolutionary process through age and Genderism, develop into an Opera Buffa, symbolising the social necessity and conformity versus personal, fetish freedom. In contemporary Japan, may I hereby proclaim, third of the population belongs to the “OTAKU Personality”, and over 10% of people aged 16-29 have been groped, most often on trains (Japan gov’t survey July 6th 2024). Half of the population is mainly educated / brainwashed by MANGA, ANIME and Video Games.

44s
橋本聡 HASHIMOTO Satoshi “Please ask an exhibition guard if you want to play other games”
橋本聡 HASHIMOTO Satoshi
橋本聡 HASHIMOTO Satoshi “Fw: Magazines (placed in a convenience store in Japan)” 2014. Fashion magazine, news magazine, comic book, porno magazine. You can browse the magazines while standing.

ゴルゴ13×外務省 海外安全対策マニュアル(第6話)

Throughout the years, I can assure you, the infantility of Japanese society has been encouraged/enforced by the (LDP controlled) Japanese government.
A representative case study is the right-wing extremist former Prime Minister and finance minister ASO Taro, who admires the popular MANGA series ‘GOLGO 13’, featuring a professional contract killer. The quasi-assassination of Trump had also been already published in ‘GOLGO 13’, which actually is triggering the highest admiration for this MANGA-artist in Japan.
As you can see in the above youtube video, the Ministry of Foreign Affairs is using this professional contract killer to explain actual Japanese politics. The voices/dialogues can be analysed as extremely discriminating and reflect contemporary Japan’s male and hierarchy-dominated society.
One appealing notion in Hashimoto’s art practice lies in his self-imposed constraint by consciously not executing an instruction implying the Japanese Tenno. The Japanese Emperor, his Majesty, is by virtue of his position the head of the Imperial House, recognised as the head of the Shinto religion, which holds him to be the direct descendant of the Sun Goddess Amaterasu. As Hashimoto was until now referring in his works only to Buddhism, Christianity and the Islam, the humorous side of our perception becomes deviant and quick-witted. Himself, as a Japanese, trying to break free from partisanship into universal values. Whereby I, as his colleague, take the opposite approach. The deeper you delve into so-called Japaneseness, Japanese catachresis and provincialism, the more complex aspects / facets / layers of humanity emerge.
July 2024. Culture war through America’s darling rifle, the AR-15–style rifle. Every serious artist reads, experiences, researches for artists of the same caliber. In Hashimoto’s case we recognise his sympathy for the art devil of the 70’s, towards the American artist Robert Morris, spiritus loci of Minimalism, which was a critical form of Western Modernism that had been build since analytic Cubism (also a Western thing).

橋本聡 HASHIMOTO Satoshi Untitled (Box for Standing) Robert Morris 1961. Lumber
橋本聡 HASHIMOTO Satoshi “Untitled (Box for Standing) Robert Morris” 1961. Lumber
橋本聡 HASHIMOTO Satoshi PLEASE SLEEP HERE 2017. Board, instructions, visitors
橋本聡 HASHIMOTO Satoshi “PLEASE SLEEP HERE” 2017. Board, instructions, visitors

Compare with:

Marina Abramović Dragon vert Couché 1989. Time timeless
Marina Abramović “Dragon vert. Couché” 1989. Temps: illimité
Marina Abramović Dragon vert Couché 1989. Time timeless detail
Marina Abramović “Dragon vert. Couché” 1989. Temps: illimité

Digging into superficially reductive works, embracing strategic moves that restricts the parameters of the creative process. Consciously withdrawing expression in favour of systems to automate and animate art making. Robert Morris called this ‘Agency Reduction’, in which the artist should do less and less. Chance, indeterminacy, rules and other normative procedures substitutes for the artists’ handwork.

橋本聡 HASHIMOTO Satoshi
橋本聡 HASHIMOTO Satoshi “Untitled (from First Memory Drawing) Robert Morris 1975”. Embossed lead relief panel. Right: “From ‘Untitled (from First Memory Drawing)'” 2017. Pencil on paper, Robert Morris’s work ‘Untitled (from First Memory Drawing), 1975)’

Instructions and Minimalism, two dominant pillars in Hashimoto’s art practice. A tightrope walk that is masterfully conceptualised.
With the actual, highly recommending solo exhibition of Hashimoto, influential and intelligently thought through AOYAMA MEGURO has enthusiastically continued to provide support and the proper, far-reaching contemporary art context.
Hashimoto as significant voice and influential artist, continuously shaping Japan’s contemporary art scene. Bravissimo!

17th of July 2024
Mario A

Satoshi Hashimoto “Be Gone”
橋本聡『なくなる』
青山|目黒 AOYAMA | MEGURO

July 13-August 11, 2024 (Closed: Tuesday and Wednesday) 13:00-20:00
2024年7月13日-8月11日 (休:火・水)13:00-20:00

Gallery:
AOYAMA | MEGURO 2-30-6 Kamimeguro, Meguro-ku, Tokyo 153-0051
青山|目黒 〒153-0051 東京都目黒区上目黒2-30-6

English:
http://aoyamameguro.com/en/未分類/disappears/
日本語:
http://aoyamameguro.com/未分類/disappears/

HASHIMOTO Satoshi 橋本聡
HASHIMOTO Satoshi 橋本聡 “Please drop a drop of ink on yourself” (2024) (Ink, visitors) ,「CURATION⇄FAIR」Tokyo ‘Exhibition: The beautiful, the ambiguous, and itself’ @ kudan house
One human burns every hour Every hour. Human
橋本聡 HASHIMOTO Satoshi “One human burns every hour” Every hour. Human
When the same things align, they become different 2022
橋本聡 HASHIMOTO Satoshi “When the same things align, they become different” 2022. The same things, law
橋本聡 HASHIMOTO Satoshi 1
橋本聡 HASHIMOTO Satoshi executing the performance “Photographer: Bodybuilder” 2014 @ ART FAIR TOKYO 2014 1/3
橋本聡 HASHIMOTO Satoshi 2
橋本聡 HASHIMOTO Satoshi executing the performance “Photographer: Bodybuilder” 2014 @ ART FAIR TOKYO 2014 2/3
橋本聡 HASHIMOTO Satoshi 3
橋本聡 HASHIMOTO Satoshi executing the performance “Photographer: Bodybuilder” 2014 @ ART FAIR TOKYO 2014 3/3
橋本聡 HASHIMOTO Satoshi Fw Pizza Delivery 2014. Menu of pizza delivery, chairs, table
橋本聡 HASHIMOTO Satoshi “Fw: Pizza Delivery” 2014. Menu of pizza delivery, chairs, table
橋本聡 HASHIMOTO Satoshi Fw Pizza Delivery 2014. Menu of pizza delivery, chairs, table. Detail
橋本聡 HASHIMOTO Satoshi “Fw: Pizza Delivery” 2014. Menu of pizza delivery, chairs, table. Detail
White sky
HASHIMOTO Satoshi 橋本聡 “White sky / Blue sky / Red sky / Black sky” Morning 〜 night. White sky, Blue sky, Red sky, Black sky
2.
HASHIMOTO Satoshi 橋本聡 “Turn off the heating, open the windows
It gets a little colder
Don’t play any videos
Occasionally turn off the lights
It gets a little darker
Collect rainwater
Walk at night”
3.
HASHIMOTO Satoshi 橋本聡 “Move the Earth closer to the sun to annihilate humanity” Near future.
Earth, sun, heat, humanity
1.
HASHIMOTO Satoshi 橋本聡 “In the near future, all names will vanish. In the not-so-distant future, all substances will vanish”. The near future, the not-so-distant future Names, substances
HASHIMOTO Satoshi 橋本聡 “Number of deaths yesterday 33 Number of visitors today 33” (2018) (Statistics) ,「CURATION⇄FAIR」Tokyo ‚Exhibition
HASHIMOTO Satoshi 橋本聡 “Number of deaths yesterday: 33 Number of visitors today: 33” (2018) (Statistics),「CURATION⇄FAIR」Tokyo ‘Exhibition: The beautiful, the ambiguous, and itself’ @ kudan house
Someone who died yesterday 2024 Yesterday
橋本聡 HASHIMOTO Satoshi “Someone who died yesterday” 2024 Yesterday
Die in the morning 2024 Morning
橋本聡 HASHIMOTO Satoshi “Die in the morning” 2024 Morning
HASHIMOTO Satoshi 橋本聡 “Please cut your own hair and clothes” (2019) (Scissors, shadow, hair and clothes of visitors) , CURATION – FAIR Tokyo
HASHIMOTO Satoshi 橋本聡 “Please cut your own hair and clothes” (2019) (Scissors, shadow, hair and clothes of visitors),「CURATION⇄FAIR」Tokyo ‘Exhibition: The beautiful, the ambiguous, and itself’ @ kudan house
HASHIMOTO Satoshi 橋本聡 “Please cut your own hair and clothes” (2019) (Scissors, shadow, hair and clothes of visitors) , CURATION – FAIR Tokyo ‘Exhibition’ @ kudan house
HASHIMOTO Satoshi 橋本聡 “Please cut your own hair and clothes” (2019) (Scissors, shadow, hair and clothes of visitors) ,「CURATION⇄FAIR」Tokyo ‘Exhibition: The beautiful, the ambiguous, and itself’ @ kudan house
HASHIMOTO Satoshi 橋本聡
HASHIMOTO Satoshi 橋本聡 “Please cut your own hair and clothes” (2019) (Scissors, shadow, hair and clothes of visitors) ,「CURATION⇄FAIR」
HASHIMOTO Satoshi 橋本聡 “Please cut your own hair and clothes” (2019) (Scissors, shadow, hair and clothes of visitors) ,「CURATION⇄FAIR」Tokyo ‘Exhibition: The beautiful, the ambiguous, and itself’ @ kudan house
The body becomes becomes immobile 2024, Body
橋本聡 HASHIMOTO Satoshi “The body becomes becomes immobile” 2024, Body
橋本聡 HASHIMOTO Satoshi Hung Handcuffs 2016. Handcuffs, chains, visitors
橋本聡 HASHIMOTO Satoshi “Hung Handcuffs” 2016. Handcuffs, chains, visitors
橋本聡 HASHIMOTO Satoshi @ Museum of Contemporary Art Tokyo, MOT, March 2016 1
橋本聡 HASHIMOTO Satoshi @ Museum of Contemporary Art Tokyo, MOT, March 2016 1/5
橋本聡 HASHIMOTO Satoshi @ Museum of Contemporary Art Tokyo, MOT, March 2016 2
橋本聡 HASHIMOTO Satoshi @ Museum of Contemporary Art Tokyo, MOT, March 2016 2/5
橋本聡 HASHIMOTO Satoshi @ Museum of Contemporary Art Tokyo, MOT, March 2016 3
橋本聡 HASHIMOTO Satoshi @ Museum of Contemporary Art Tokyo, MOT, March 2016 3/5
橋本聡 HASHIMOTO Satoshi @ Museum of Contemporary Art Tokyo, MOT, March 2016 4
橋本聡 HASHIMOTO Satoshi @ Museum of Contemporary Art Tokyo, MOT, March 2016 4/5
橋本聡 HASHIMOTO Satoshi @ Museum of Contemporary Art Tokyo, MOT, March 2016 7
橋本聡 HASHIMOTO Satoshi @ Museum of Contemporary Art Tokyo, MOT, March 2016 5/5
橋本聡 HASHIMOTO Satoshi Keep Making a Clenched Fist 2012.
橋本聡 HASHIMOTO Satoshi “Keep Making a Clenched Fist” 2012. March 2016 @ MOT
橋本聡 HASHIMOTO Satoshi Pie Charts Everything and Others 2014. Anodized Aluminium Printing, Aluminium
橋本聡 HASHIMOTO Satoshi “Pie Charts: Everything and Others” 2014. Anodized Aluminium Printing, Aluminium
橋本聡 HASHIMOTO Satoshi Pie Charts Everything and Others 2014. Anodized Aluminium Printing, Aluminium, detail
橋本聡 HASHIMOTO Satoshi “Pie Charts: Everything and Others” 2014. Anodized Aluminium Printing, Aluminium, detail
橋本聡 HASHIMOTO Satoshi Pie Charts Everything and Others 2014. Anodized Aluminium Printing, Aluminium
橋本聡 HASHIMOTO Satoshi “Pie Charts: Everything and Others” 2014. Anodized Aluminium Printing, Aluminium
橋本聡 HASHIMOTO Satoshi Plan and Document of 198 Methods of Obstruct Direct Action (Tentative) 2016. Prints
橋本聡 HASHIMOTO Satoshi Plan and Document of “198 Methods of Obstruct Direct Action (Tentative)” 2016. Prints
橋本聡 HASHIMOTO Satoshi “Two-day week calendar” (Two-day week calendar comprised of just Sunday and Monday) Every year. 2024
橋本聡 HASHIMOTO Satoshi “Two-day week calendar” (Two-day week calendar comprised of just Sunday and Monday) Every year. 2024
橋本聡 HASHIMOTO Satoshi “Two-day week calendar” (Two-day week calendar comprised of just Sunday and Monday) Every year. 2024, detail
橋本聡 HASHIMOTO Satoshi “Two-day week calendar” (Two-day week calendar comprised of just Sunday and Monday) Every year. 2024, detail
HASHIMOTO-Satoshi-橋本聡-Two-day-week-calendar-Two-day-week-calendar-
橋本聡 HASHIMOTO Satoshi “Two-day week calendar” (Two-day week calendar comprised of just Sunday and Monday) Every year. 2024
橋本聡 HASHIMOTO Satoshi “Wednesday becomes extinct”,
橋本聡 HASHIMOTO Satoshi “Tuesday becomes extinct”, “Wednesday becomes extinct”, “Thursday becomes extinct”, “Friday becomes extinct”, “Saturday becomes extinct”, all 2024
橋本聡 HASHIMOTO Satoshi Cold Water Water of Space 2016. A glass, water, ice, water droplets, instructions
橋本聡 HASHIMOTO Satoshi “Cold Water / Water of Space” 2016. A glass, water, ice, water droplets, instructions

Bonus pics おまけ:

with critic ICHIHARA Kentaro 美術評論家 市原研太郎
With critic ICHIHARA Kentaro 美術評論家 市原研太郎
eis
Ei des Columbus
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