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Commemorating the 80th Anniversary of the Atomic Bomb
Between Memories and Objects
Monuments, Museums, and Archives

2025.6.21(Sat) — 9.15(Mon)

Statue of Admiral Kato Tomosaburo, Hijiyama, 1935, pedestal (present day).

This exhibition deals with the relationship between memories of the war and the atomic bomb, and objects such as artworks. We consider the formation, loss, and reconstruction of memories as they relate to, among other things, the bronze statue that once stood on Hijiyama, where the museum is now located, the artist who made it, and the statues that were rebuilt after the war. Moreover, it is possible to detect a sense of continuity between the past and the present, and catch a glimpse of dialogue-oriented attitudes toward acts of the past by examining the work of artists whose interests and subject matter deals with monuments, museums, and archives as objects and activities that are related to memory formation. In addition, the exhibition, made up of works from the collection (a postscript to the museum's activities), strives to create a place for constructive, interactive discussion and thought regarding the potential for inheriting memories of the war, the participants, and the past, which were shaped by various expressions and systems.

Flyer　List of Works

Invited artists

Kuroda Daisuke, About the Statue of Liberty, 2022 ©Daisuke Kuroda

Kuroda Daisuke

Born in 1982 in Kyoto Prefecture, where he lives and works
Kuroda studied sculpture at Hiroshima City University, completing the doctoral program at its graduate school. In 2012 he co-founded the artist-run space Hiroshima Art Center with other Hiroshima-based sculptors, and was involved in its operation until it ceased activities in 2024. In 2019-20, he spent a year in Fort Worth, USA, on a grant from the Japanese Government Overseas Study Program for Artists provided by the Agency for Cultural Affairs. Since returning to Japan, he has continued his artistic practice based in Kyoto. In recent years, he has focused on forgotten presences that pervade society like ghosts, and, drawing on research into past sculpture, has presented works primarily in video that address modern and contemporary sculptors and their creative acts.

Dokuyama Bontaro, Reiwa Cherry Blossoms -75 years After WW II, 2020 ©Bontaro Dokuyama, Photo by Kenji Morita, Courtesy of LEESAYA

Dokuyama Bontaro

Born in 1984 in Fukushima Prefecture, lives and works in Tokyo
The Great East Japan Earthquake of March 11, 2011, and the subsequent TEPCO Fukushima Daiichi nuclear accident drastically altered the circumstances in Dokuyama’s hometown, inspiring him to leave his job and begin his career as an artist. He researches various phenomena and creates works centered on video, sculpture, and installation, primarily focusing on aspects of history and society that have become obscured. Through travels to various locations, on-site investigations, and interactions with local people, he intervenes in situations using himself as a medium, aiming to draw attention to specific subjects.

Tsutaja Gaku, Spider’s Thread: This Landscape, 2020 ©Gaku Tsutaja, Courtesy of Ulterior Gallery

Tsutaja Gaku

Born in 1974 in Tokyo, lives and works in New York, USA
Tsutaja graduated from Tokyo Zokei University with a major in painting in 1998. After working as part of the artist unit “gansomaeda,” she moved to the United States in 2006 and earned an MFA from the State University of New York at Purchase (SUNY Purchase) in 2018. Following the nuclear accident caused by the 2011 Great East Japan Earthquake, she began investigating historical facts and memories surrounding nuclear weapons and war and producing works in various media including drawing, sculpture, video, and performance. Based on stories heard from researchers, journalists, and atomic bomb survivors in Japan and the US, as well as archival photographs and other materials, Tsutaja seeks to reinterpret and reconstruct this history as a set of transnational issues while incorporating allegorical elements.

Fiona Amundsen, Kanariya Eishi, An Ordinary Life, 2021 ©Fiona Amundsen, Kanariya Eishi

Fiona Amundsen

Born in 1973 in Auckland, Aotearoa (also known as New Zealand), where she lives and works
Amundsen earned a PhD in Philosophy from Monash University, Australia. Her research focuses on connections between specific historical events, the social responsibility to bear witness, and the ethics of moving image production. She edits declassified military records together with photographs and videos she has shot herself, exploring how visual media might offer a means of attentive witnessing or testify to acts of violence committed under colonial imperialism, whether historical or ongoing. In recent projects, Amundsen investigates relationships between Cold War-era military nuclear technology, militarized capitalism, environmental degradation, and spirituality, while also pursuing alternative ways of remembering narratives and experiences of World War II in the Asia-Pacific.

Komori Haruka + Seo Natsumi, When I was 11... （in Hiroshima）（2023-）Production scene

Komori Haruka

Born in 1989 in Shizuoka Prefecture, lives and works in Niigata Prefecture
Komori completed the Fiction course at the Film School of Tokyo and the Intermedia Art program at the Graduate School of Fine Arts, Tokyo University of the Arts. Following the 2011 Great East Japan Earthquake, she volunteered in coastal areas of Tohoku, which led to her formation of an art unit with Seo Natsumi. From 2012, they relocated to Rikuzentakata City in Iwate Prefecture for three years, documenting people’s stories, daily lives, and the local landscape on video. In 2015, alongside colleagues active in Tohoku, they established the general incorporated association NOOK to document and engage with the region. In 2022, Komori moved to Niigata and produced the work Spring, on the Shores of Aga (2025), featuring Hatano Hideto, who has long supported patients with Niigata Minamata disease.

Seo Natsumi

Born in 1988 in Tokyo, where she lives and works
Seo completed the graduate program in painting at the Graduate School of Fine Arts, Tokyo University of the Arts. She travels to various places, producing paintings and writing texts exploring the idea of "what cannot be spoken." After volunteering in coastal Tohoku following the 2011 Great East Japan Earthquake, she formed an art unit with Komori Haruka and was based in Rikuzentakata, Iwate Prefecture, for three years, beginning in 2012. In 2015, she co-founded the general incorporated association NOOK with collaborators working in the Tohoku region, with the aim of creating records while engaging with the land. Seo now runs Studio04 in Koto-ku, Tokyo, and is also involved in Karoku Recycle, a project that researches records of past disasters, documents ongoing disasters, and incorporates these materials into artworks.

Ueda Naoji, Statue of Admiral Kato Tomosaburo, 1935

Tange Kenzo, Model for the Hiroshima Peace Memorial Park, 1/300 Model scale, 1950/2015

Isamu Noguchi, Model for Memorial to the Dead of Hiroshima (1/5), 1952/1991

Kuroda Daisuke, About the Statue of Liberty, 2022 ©Daisuke Kuroda

Dokuyama Bontaro, Reiwa Cherry Blossoms -75 years After WW II, 2020 ©Bontaro Dokuyama, Photo by Kenji Morita, Courtesy of LEESAYA

Tsutaja Gaku, Spider’s Thread: This Landscape, 2020 ©Gaku Tsutaja, Courtesy of Ulterior Gallery

Fiona Amundsen, Kanariya Eishi, An Ordinary Life, 2021 ©Fiona Amundsen, Kanariya Eishi

Komori Haruka + Seo Natsumi, When I was 11... ( in Hiroshima ) ( 2023- ) Production scene

Information

Exhibition Period
2025.6.21(Sat) — 9.15(Mon)
Opening Hours
10:00–17:00

*Admission until 30 minutes before closing

Venue
Hiroshima City Museum of Contemporary Art, Gallery B
Access
Closed
Mondays (except July 21, August 11 and September 15), July 22 and August 12
Admission
Adults 1,600 (1,250) yen, University students 1,200 (900) yen, High school students and seniors (65 and over) 800 (600) yen
*Price in parentheses is that of advance ticket and a group of 30 or more
*You can also see the concurrent collection exhibition with a ticket for this exhibition
*Free admission for holders of an atomic bomb survivor's certificate, physical disability certificate, etc., and for their caregivers (one person per certificate holder) For more information

[ Advanced Ticket ]
Online Shop 339
Tikect PIA (P Code 995-465)
*Available until June 20
Organized by
Hiroshima City Museum of Contemporary Art
Under the auspices of
Hiroshima Prefecture, Hiroshima Municipal Board of Education, The Chugoku Shimbun, The Asahi Shimbun, The Mainichi Newspapers, THE YOMIURI SHIMBUN, RCC BROADCASTING CO.,LTD., TSS-TV CO.,LTD., Hiroshima Television Corporation, Hiroshima Home Television Co.,Ltd., HIROSHIMA FM BROADCASTING CO.,LTD., Onomichi FM Broadcasting Co., Ltd.
Discount
Three Museum Discount

Reservation for Catalog

Receive an original exhibition sticker as a special gift for pre-ordering!

Price: 3,000yen+tax
Size: 257×186mm
Pages: 160
Languages: Bilingual (Japanese-English)
Art Director: Katsuhisa Nomura (Nomura Design Factory)
Published by: Hiroshima City Museum of Contemporary Art

Onlineshop"339"

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