Hiroshima Art Document への声明

Hiroshima Art Document への声明

Yuichiro Higshiji_write

Statement to Hiroshima Art Document

I will participate in an exhibition called Hiroshima Art Document.A=AA≠A (Building) will be submitted to a tea room in the garden of Mirei Shigemori called Hanbei.

The tea pavilions, “Koka-tei” and “Chosho-an” in Hanbe 8-12 Hon ura-cho Minami-ku, Hiroshima City
広島県広島市南区本浦町8-12 半べえ 茶室 「紅霞亭」「聴松庵」
Tel 082-282-7121
Sunday 20 - Thursday 24 March 2022   11:00 - 17:00


A=AA≠A(Building) is the second work in the A=AA≠A series, in which a first photograph is copied 2000 times.

I focused on one postcard.
On the day when humans first used the nuclear weapons in the world, Hiroshima(廣島) was changed to Hiroshima(ヒロシマ) and Hiroshima(廣島) Prefectural Product Display was changed to the Atomic Bomb Dome.
For people, even if they forget that Hiroshima(ヒロシマ) was Hiroshima(廣島),the radioactivity that remains there is almost never lost by repeating half.More than 50 years later, the trace was registered as a World Heritage site with radioactivity and became a symbol of peace.Nevertheless, nuclear power still exists in this country that should have no nuclear power.


1,A=AA≠A(Building)が示すのは、原風景の1つA=AA≠A(Building) indicates one of the original landscapes

It is a reinterpretation of the "past. The theme is neither nuclear nor war. It was created with a focus on what existed before that time.

The postcard from the Bussan Exhibition Hall was chosen as the subject because it seemed to overlap with the original concept at the tip of the copy expressed as A=AA≠A, the first event that occurred in the world.

I have heard from my grandfather that before, during, and after the war, values changed dramatically and became a different world. When tracing back history from the present, it is often said that the atomic bombing and the birth of the symbolic "Atomic Bomb Dome" during the war marked the beginning of the history of Hiroshima (at least that is the impression I got from textbooks). This is only a postwar interpretation, and I have the impression that the Atomic Bomb Dome in Hiroshima must have had an earlier appearance, but few people know what it looked like. At that time, I created A=AA≠A(Building) in the hope that the original, which I call the original of the copy generated by A=AA≠A, might also have a history before becoming the original. What this work shows may not be the the Atomic Bomb Dome or nuclear weapons, but the original landscape and air of Hiroshima. It contains the possibility and expectation that the original landscape may become an entrance (interpretation) to a new world in the present age. 

The previous work A=AA≠A(mountain) may also be the original landscape.

The "expectation that the original, which we call the original of the generated copy, may have a history before becoming the original" is true not only for the Building but also for the entire A=AA≠A series. The meaning can only be interpreted by assigning something concrete to the original that is indicated by the work produced by copying.

What is the original landscape?

Original landscapes are images of experiences (e.g., childhood) that unknowingly influence the formation of a person's personality and the direction of his or her behavior, and that take the form of what is seen in his or her eyes. The original landscape of Hiroshima means imagining the island as it was before World War II, and the A=AA≠A series may be a work that elicits the imagination of an earlier image of the subject in focus.


Half a picture of the original landscape

The site of Hanbei is an area that is hidden from view of the A-bomb Dome by Hijiyama, and despite its proximity to downtown Hiroshima, it is an area that escaped the bombing.

Kanai Han, who was running a fruit orchard successfully as Kanai Noen, decided to plant azaleas all over the property. Mirei Shigemori created the Juhukayama Garden in the corner of the garden called Tsutsujiyama.


Perhaps the original landscape does not exist.

In the context of history, this means the possibility of what would have happened if Hijiyama had not existed, but here we begin with a story about black holes and the universe, an excerpt from "Paragraph 6 of the Letter to a Better Evidence (posteriori interpretation)" submitted to the Koganecho Bazaar 2021.

It shows the possibility that the universe has no beginning and that the past is infinite.


To translate the universe into a work of art, it means that there is no one original form when viewed from the (a posteriori) perspective of the result of the copying.

Yuichiro Higashiji A=AA≠A series of works, in which 2,000 copies are generated from a single photograph, has addressed questions related to the original and the copy. In this approach, the focus is on the copying (pre) and not on the copied (post). The critique that we assume in this article is a question about the range of variations (possibilities) of the original that can be derived by tracing back the process from the endpoint that can be seen when the work is temporarily shifted to the a posteriori position. Perhaps it may be that there is no copy of the original.


The original can be rewritten later from an after-the-fact perspective as another way of saying that the original is not one. If the error of misreading is not recognized as an error, it can take the possibilities of imagination to infinity. It could be the universe. Here, we can think that the landscape seen when "original" is replaced by "original landscape" in the text is the essence of this work.

ここで、A=AA≠Aにおいて確かにオリジナルは存在しているわけだが、それを事後的な解釈によって打ち消すがことができるのは、ある種のエラーである。こうしたエラーが起こること と それを検出できること は別にあると考えている。よりよきへ向かう手つきで重要なのは、エラーをエラーとして検出できるかどうかである。
The original is certainly present in A=AA≠A, but it is an error of some kind that can be counteracted by a posteriori interpretation. The fact that such errors occur and the fact that they can be detected are two different things. What is important in the move toward betterment is whether or not errors can be detected as errors.


When starting something, the first sheet is very important. It is the same for copying.

This is the most tense moment when producing A=AA≠A. The previous chapter was about imagining a parallel world to the time line and the original (i.e., starting point) variation as a possibility there, but it is a very important question where the starting point should be, including when looking at the time line. In other words, is the dropping of the atomic bomb the beginning of the A-bomb Dome? This is the question.

I want to imagine the present and the future as seen from the past, not as seen from the present.

However, looking at the past with today's values, one may not question the fact that the starting point is the A-bomb Dome, but rather, considering the present from the perspective of past values will serve as a conversion point from questions to awareness and imagination. I believe that this is one of the functions of art, which is very important in creating a world of expectation, awareness, and imagination.

In summary, a single postcard was restored to its original landscape, making it a work of prayer.

ある建物がうつる一枚のはがきが起点となって、問いや想像をつくることができる世界に立ち会うことができたのは奇跡であり、その可能性をさらに拡張してくれたのがHiroshima Art Documentである。
It is a miracle that we were able to witness a world where a single postcard depicting a building can be the starting point for the creation of questions and imagination, and the Hiroshima Art Document has further expanded these possibilities. Imagination in the creation of a world is an important opportunity to think about what we want the people who come into contact with that world to be and what we want them to become, and we hope to continue to imagine many more opportunities through our work.

Artist_CV :東地雄一郎

Yuichiro Higshiji_write
https://yuichirohigashiji.com/  __アーティスト。 1枚の写真プリントAを2000回繰り返しコピーしたもの。A=A が期待される複製行為を極限まで繰り返して差異を増大させることで、偽物Aから価値Bを作り出す。