\n\u3000There’s no doubt that the growing interest in this topic in the field of contemporary art is a phenomenon occurring in the matrix of relations between wartime Japan and other Asian countries (including Ho’s birthplace, Singapore). This phenomenon can be seen to include Hong Kong media artist Royce Ng’s solo exhibition \u201cThe Death of Manchuria…Is the Prerequisite for the Birth of Post-War Asia,\u201d held in the summer of 2021 at Asakusa, an alternative venue in Tokyo. That exhibition featured two of Ng’s video works themed on \u201cthe legacy of Manchukuo (the puppet state of imperial Japan established in northeastern China in 1932) in East Asia\u201d: \u201cKishi the Vampire\u201d (2016) and \u201cState Alchemist I: Body without Organs\u201d (2021). One would guess that Araki’s intention in organizing Ho’s lecture this time was to create an opportunity to think deeply, \u201cthrough art,\u201d about historical issues related to other Asian countries rooted in Japan’s imperial past by discussing them, including with students, in a university\/academic setting.
\n\u3000As mentioned earlier, there are notable similarities between Ho\u2019s and Ng’s artistic practices (e.g., being from a place once occupied by Japan, and having an interest in the intersectional space between wartime imperial Japan and culture and thought). For this reason, I believe it is essential to analyze the two comprehensively as a subset of a single phenomenon. However, it is also clear that there\u2019s risk involved in a simple juxtaposition of the works of these artists, which differ in style and approach. *1<\/sup><\/a> In this sense, this event, where Ho himself was present to discuss his work in depth, can be considered highly significant.
\n\u3000Ho presented the installation \u201cHotel Aporia\u201d (2019) at Aichi Triennale 2019. It attracted attention by being displayed in the building that once housed the Kirakutei, a restaurant and inn where, during World War II, members of the Tokkotai (\u201cSpecial Attack Unit\u201d aka Kamikaze, the military aviators who flew suicide attacks in the Pacific War) spent their final nights. In 2021, he created \u201cVoice of Void\u201d (2021), a video installation that combines virtual reality (VR) and animation elements, and in the same year he held a solo exhibition with the same name at the Yamaguchi Center for Arts and Media (YCAM). Ho’s latest video installation, \u201cNight March of Hundred Monsters,\u201d is composed mainly of animation and was prepared for his solo exhibition at the Toyota Municipal Museum of Art, held from the end of 2021 through to early 2022. That exhibition proved a resounding success, transcending the borders of the narrowly defined \u201cart world,\u201d including through a conversation between Ho and the thinker Hiroki Azuma (\u201cGenron Cafe,\u201d October 25, 2021) that was held to celebrate the exhibition’s opening. The works all shed light on the effect (and reverberations) of wartime Japanese imperialism on other Asian countries, and on its complicity with culture and ideology. The Tokyo University of the Arts lecture featured Ho’s own commentary on these works.<\/p>\n
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Installation view of \u201c100 Monsters,\u201d from Night March of Hundred Monsters, 2021
Photograph by Hiroshi Tanigawa, courtesy of Toyota Municipal Museum of Art\n<\/p>\n
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Ho Tzu Nyen, Character Design: Tiger of Malaya,\u201cNight March of Hundred Monsters\u201d 2021<\/p>\n
Asia as method<\/p>\n
\u3000Ho opened with a commentary on \u201cHotel Aporia,\u201d which marked the beginning of his series of works on imperial Japan. He pointed out the constraints he had to deal with in exhibiting in the historical building that once housed the Kirakutei, such as not being able to make holes in any part of the structure, and then, referring to an anecdote in Junichiro Tanizaki’s \u201cIn Praise of Shadows,\u201d laid out a practical method of constructing the exhibition that rather made the most of said constraints. Understanding this creative process is meaningful not only for curators and researchers who are interested in Ho\u2019s activities, but also for actual artists, including students learning practical skills. Installation view of \u201cVoice of Void,\u201d 2021 Questioning clear-cut concepts and unraveling the historical processes of their construction<\/p>\n \u3000On December 17, one week after the lecture, an online critique session was held with Ho invited as a guest. Current Tokyo University of the Arts students\u2014Koken Arakawa, Shinobu Soejima, Ayae Kamiya, Rintaro Fuse, and Tomomi Oka\u2014gave presentations on their artworks, and Ho responded with questions and comments. Natsumi Araki served as moderator, reprising her role from the lecture. The five presenting students are all already up-and-coming artists active outside of the university and with distinctive artistic approaches that have won each of them attention. I cannot here describe in detail the content of the hour and a half of dense presentations and critiques, but I was impressed by Ho’s sincere attitude of respecting all presenters equally as fellow artists, and responding with his own perspective and frank critical questions. Installation view of \u201cHotel Aporia,\u201d 2019 <\/a>1) This thought was inspired by a personal conversation with Jung-Yeon Ma, who specializes in film and media studies and contemporary art, and I would like to express my gratitude to her here.
\n\u3000Using the viewer’s perspective created by the exhibition\u2019s composition as a point of departure, Ho focused on Yasujiro Ozu, who was sent to Singapore during the war to shoot a propaganda film. From there, his vivid imagination organically linked such figures as Yukiko Nagasaka (a former proprietress of the Kirakutei restaurant), Sakae Miyauchi (a lieutenant in the 3rd Kusanagi Corps of the Navy Special Attack Unit), Ryuichi Yokoyama (a cartoonist sent to Indonesia as part of a propaganda unit), and philosophers of the Kyoto School who advocated Asianism. These people were all invited as \u201cguests\u201d to the Hotel Aporia. The various voices of these guests, who were not necessarily connected to each other in any explicit sense but who all lived through Japan\u2019s difficult wartime period, were spun together to produce polyphony, harmony, resonance, and dissonance. Ho said that the space created by Hotel Aporia was conceived as a place filled with all these elements.
\n\u3000Ho then moved on to discuss his second artwork, \u201cVoice of Void.\u201d This work focuses on the philosophers who formed the \u201cKyoto School\u201d in the broadest sense of the term, such as Kitaro Nishida, Hajime Tanabe, Keiji Nishitani, and Kiyoshi Miki, and engages with their ideas\u2014which are often said to have provided the rhetoric that justified Japan’s imperialism during the war\u2014through art.
\n\u3000The standout feature of this work is the use of VR technology. Aesthetics researcher Futoshi Hoshino takes up \u201cVoice of Void\u201d in his latest paper, \u201cVR and the State\u201d (2022), focusing on the technology\u2019s powerful identification effect. He points out that a \u201ccall to action\u201d in the unique space it provides is parallel to the very \u201cforemost technology of the state\u201d that encourages uncritical unification of the self and the state (i.e., the disappearance of the individual and subjectivity under totalitarianism), as observed throughout many of the statements of Kyoto School thinkers at the time, including Hajime Tanabe’s \u201cLife and Death\u201d lecture, which is said to have greatly contributed to the mobilization of students for war. *2<\/sup><\/a> This point is also related to the overwhelming power of VR and animation in Ho’s works and the strange \u201ccomfort\u201d it brings, as Araki pointed out in the latter half of the lecture. Of course, Ho himself is conscious of such structures and deliberately creates spaces with such intensity. In the lecture, he explained in detail the methodology of integrating VR technology into his video installations.
\n\u3000Finally, the artist himself explained his latest artwork, \u201cNight March of Hundred Monsters.\u201d As Ho emphasizes, the multifaceted composition of the work, which consists of four exhibition rooms\u2014\u201cOne Hundred Monsters,\u201d \u201cThirty-six Monsters,\u201d \u201cOne or Two Spies,\u201d and \u201cOne or Two Tigers\u201d\u2014shares similarities with \u201cHotel Aporia\u201d and \u201cVoice of Void.\u201d Ho says that its main theme, foregrounded by the humorous characters based on yokai motifs, is the \u201cstrange entanglement between religion, violence, and nationalism\u201d surrounding imperial Japan.
\n\u3000The concept of \u201cAsia as method\u201d kept coming back to my mind throughout the event. That idea emerged from an eponymous lecture given by Yoshimi Takeuchi, a scholar of Chinese literature, at International Christian University in the early 1960s. In the lecture, Takeuchi suggested that a de-Westernized perspective was essential to dispel the residue of imperialism supported by colonial aggression, and that the concept of Asia as a \u201cprocess of subject formation,\u201d i.e. a \u201cmethod,\u201d rather than an entity, might be effective for this purpose. *3<\/sup><\/a> In recent years, cultural scholars from East Asia, such as Sun Ge *4<\/sup><\/a>, Chen Kuan-hsing *5<\/sup><\/a>, and Koichi Iwabuchi *6<\/sup><\/a>, have built on Takeuchi’s proposal, each developing their own methodologies for overcoming the legacy left by Japanese imperialism.
\n\u3000The perspective that \u201cthe history of Japan during the imperialist era is no longer just the history of Japan alone, but is already part of the history of Asia as a whole,\u201d stated by Ho during the Q&A session, truly expresses the ethos of \u201cAsia as method.\u201d In this sense, Ho can be described as an artist who is literally practicing \u201cAsia as method\u201d through his artistic work. The Q&A session with the participants, including the moderator Araki, was a stimulating one, with different angles and approaches on the legacy of Japanese imperialism presented from various standpoints, resulting in a dynamic process of collision, negotiation, and compromise between them. In this respect, \u201cMonsters and Aporias: Engaging with Japanese Imperialism through Art\u201d itself embodied the \u201cAsia as method\u201d approach.<\/p>\n![\"\"](\"https:\/\/realtokyo.co.jp\/_sys2024\/wp-content\/uploads\/2022\/01\/4_Installation-shot_Voice-of-Void.jpg\")
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Photograph by Ichiro Mishima, courtesy of Yamaguchi Center for Arts and Media [YCAM] and the artist\n<\/p>\n
\n\u3000As Araki mentioned at the end of the session, Ho’s stance of thoroughly questioning concepts that are considered self-evident led to a mutually productive dialogue with the presenters. He asked what the notions we use in our daily lives actually mean; for example, \u201cnature\u201d for Arakawa, \u201clight\u201d *7<\/sup><\/a> for Soejima, \u201csociety\u201d for Kamiya, \u201cface\u201d and \u201crhythm\u201d for Fuse, and \u201ctime\u201d for Oka. The questions, which asked the presenters to redefine \u201cself-evident\u201d concepts one by one in their own way, encouraged deeper reflection in the presenters and seemed to give new insights into Ho’s own artistic practice as well (For example, when discussing the relationship between light and shadows, he overlapped Soejima’s animation with his own \u201cHotel Aporia\u201d). Questioning the self-evidentness of all concepts appears to be at the core of Ho’s own artistic practice. *8<\/sup><\/a> In addition, I was amazed by the richness of Ho’s insights, as his arguments incorporated a wide variety of references, including Akira Mizuta Lippit, Junichiro Tanizaki, Robert Rauschenberg, Deleuze and Guattari, and Michael Fried.
\n\u3000Kamiya, who is also a member of the artist collective Hito to Hito, introduced a video and installation work that uses her own traumatic experiences as a starting point to explore issues related to sexuality and gender. In response, Ho praised her method of re-presenting issues concerning sexuality as social rather than personal, while posing the question of \u201chow these issues have been constructed historically.\u201d The careful analysis of how a certain issue or phenomenon is constructed historically is also a distinctive characteristic of Ho’s own artistic practice. In a recent interview, he questioned the utility of the \u201creality\/fiction\u201d dichotomy in history, arguing that \u201cfiction can also be productive in leading us to a better world.\u201d *9<\/sup><\/a> It appears that for now, \u201cNight March of Hundred Monsters\u201d will be Ho\u2019s last work concerning wartime Japan, but I’m sure that he will continue to both engage with various issues brought about by history and, through art, to question concepts and dichotomies that we often take for granted. I am also very much looking forward to seeing how the presenters’ artistic practices will develop in the future after their encounter with Ho.<\/p>\n![\"\"](\"https:\/\/realtokyo.co.jp\/_sys2024\/wp-content\/uploads\/2022\/01\/6_Installation-view-of-Hotel-Aporia.jpg\")
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Photograph by Hiroshi Tanigawa, courtesy of Aichi Triennale 2019<\/p>\n
\n<\/a>2) Futoshi Hoshino \u201cVR to kokka (VR and the State),\u201d Bijutsu techo<\/em>, February 2022, page 214.
\n<\/a>3) Yoshimi Takeuchi \u201cNihon to Ajia (Japan and Asia).\u201d Chikuma Gakugei Bunko, 1993. Page 469.
\n<\/a>4) Sun Ge \u201cAsia wo kataru koto no jirenma chi no kyodokukan wo motomete (The Dilemma with Discussing Asia: Pursuing a Shared Intellectual Space).\u201d Iwanami Shoten, 2002.
\n<\/a>5) Chen Kuan-hsing \u201cAsia as Method: Toward Deimperialization.\u201d Duke University Press, 2010.
\n<\/a>6) Koichi Iwabuchi \u201cToransunashonaru Japan: Popyura bunka ga ajia wo hiraku (Transnational Japan: Popular culture opens up cross-border dialogue in Asia).\u201d Iwanami Gendai Bunko, 2016. See especially \u201cTrans-Asia as method: Media culture opens up Asia.\u201d
\n<\/a>7) Referring to the violence of the modern \u201cenlightenment,\u201d Ho raised the question of why \u201cshadows\u201d are often subordinated to \u201clight.\u201d
\n<\/a>8) For example, the historian Jun Yonaha posits that Ho’s \u201cNight March of Hundred Monsters\u201d presents, in contrast to the existing understanding of \u201chistory,\u201d i.e. \u201ccollective memory of society,\u201d something like \u201ca dream some person had at night and \u2018recalls in solitude.\u201d Jun Yonaha \u201cThe Interchangeable and the Unified Collective\u201d from \u201cHo Tzu Nyen: Night March of Hundred Monsters\u201d ed. Toyota Municipal Museum of Art. Torch Press, 2021. Page 275.
\n<\/a>9) \u201cArtist Interview: Ho Tzu Nyen (interviewer: Yoko Nose),\u201d Bijutsu techo, February 2022, page 194.<\/p>\n","protected":false},"excerpt":{"rendered":"Ho Tzu Nyen, Character Design: Kitsune, \u201cNight March of Hundred Monsters\u201d 2021 Engaging with Japanese imperial […]","protected":false},"author":97,"featured_media":6560,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[5],"tags":[73],"acf":[],"aioseo_notices":[],"_links":{"self":[{"href":"https:\/\/realtokyo.co.jp\/en\/wp-json\/wp\/v2\/posts\/6547"}],"collection":[{"href":"https:\/\/realtokyo.co.jp\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/realtokyo.co.jp\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/realtokyo.co.jp\/en\/wp-json\/wp\/v2\/users\/97"}],"replies":[{"embeddable":true,"href":"https:\/\/realtokyo.co.jp\/en\/wp-json\/wp\/v2\/comments?post=6547"}],"version-history":[{"count":20,"href":"https:\/\/realtokyo.co.jp\/en\/wp-json\/wp\/v2\/posts\/6547\/revisions"}],"predecessor-version":[{"id":6552,"href":"https:\/\/realtokyo.co.jp\/en\/wp-json\/wp\/v2\/posts\/6547\/revisions\/6552"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/realtokyo.co.jp\/en\/wp-json\/wp\/v2\/media\/6560"}],"wp:attachment":[{"href":"https:\/\/realtokyo.co.jp\/en\/wp-json\/wp\/v2\/media?parent=6547"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/realtokyo.co.jp\/en\/wp-json\/wp\/v2\/categories?post=6547"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/realtokyo.co.jp\/en\/wp-json\/wp\/v2\/tags?post=6547"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}