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Hiroshi Ono Solo Exhibition

“The Righteous Place”

▼OPENING RECEPTION

August 9th (Friday), 2024, 17:00-18:00

■Period

August 9th (Fri), 2024 -  September 14th (Sat), 2024

*closed from August 14 (Wed) - August 17 (Sat)

Wed - Sat 13:00-18:00 

(closed on Suns, Mon, Tue, and National Holidays)

■Venue

KANA KAWANISHI PHOTOGRAPHY

2-7-5-5F, Nishiazabu, Minato-ku, Tokyo 106-0031

▼TALK EVENT

Date & Time:

Venue:

Speakers:

August 9th (Friday), 2024 | 18:00-19:30

KANA KAWANISHI PHOTOGRAPHY

Mika Kobayashi (photo researcher/author) × Hiroshi Ono (photographer) 

admission free | no reservation required

*Kindly note the talk will be held in Japanese language only.

Three Mile Island Nuclear Power Plant, Chernobyl Nuclear Power Plant, Fukushima Daiichi Nuclear Power Plant from the series The Righteous Place

2020-2024 | archival pigment print | 297 × 210 mm each

©︎ Hiroshi Ono, courtesy KANA KAWANISHI GALLERY

KANA KAWANISHI PHOTOGRAPHY is pleased to present “The Righteous Place,” a solo exhibition by Hiroshi Ono starting Friday, August 9th, 2024.

 

Hiroshi Ono is a photographer living in Amsterdam. In his first book, “Line on the Earth” (Edición Iman, 2007), he traveled to over 50 countries and connected the divided grounds of dystopias he confronted as one road. The scenes described in the book included, for example, the shocking sight of crossing the Afghan border wall (even visa holders were instructed to climb the wall because the slightest opening of the border would result in an avalanche of prospective immigrants), a restaurant in Belgrade during the civil war (prices were re-written every 30 minutes due to hyperinflation, and if you didn’t pay when you ordered, you didn’t know what price it would be when you’d finish eating it), and chatting with a survivor at the site of the Rwandan genocide (in front of many white bones, the survivor laughingly told him, “I survived because I was fast on my feet”).

 

In his second book, “The Small Feasts Make the World” (Mochuisle, 2012), he introduced landscapes in the Netherlands and Japan on the equal vision of hope, consisting of essays about his frustrating everyday life in the oppressed Tokyo, and diaries of his peaceful days in Amsterdam where people from varied nations and backgrounds are naturally accepted as is. His unique and humorous point of view allowed not only the cultural differences between the Netherlands and Japan to appear but also the essential cores that humans share, regardless of one’s cultural sphere.

 

In his new work, “The Righteousness Place,” which will be presented at this exhibition, Ono presents a serene bird’s-eye view of the landscapes he has photographed over a period of five years around the world. Today, when justice is being pretended all over the world, the multilayered divisions are worsening, memories of past despair are forgotten, and conflicts and suffocation seem to be running through the world at an accelerating pace, Ono’s straightforward viewpoint will flatly juxtapose the world.

We cordially invite all to this exhibition, which will help us reexamine the concepts of “righteousness” and “correctness,” which are said to have been developed by humans for the survival of the species in this time of deepening confusion.

“Nice, Truck Attack” "PATH NY” “Brussels Bombings” “Manhattan, NY” “Sousse Beach Attack”

“Nice, Truck Attack” "PATH NY” “Brussels Bombings” “Manhattan, NY” “Sousse Beach Attack”

“The Righteous Place” | 2020-2024 | archival pigment print | 210 × 297 mm each | ©︎ Hiroshi Ono, courtesy KANA KAWANISHI GALLERY

“Tsukui Yamayuri En” “National Sanatorium Nagashima Aiseien” “Auschwitz-Birkenau Concentration Camp”

“Tsukui Yamayuri En” “National Sanatorium Nagashima Aiseien” “Auschwitz-Birkenau Concentration Camp”

“The Righteous Place”2020-2024 | archival pigment print | 210 × 297 mm each | ©︎ Hiroshi Ono, courtesy KANA KAWANISHI GALLERY

“Shibuya” “Tokyo - In Front of a General Hospital”

“Shibuya” “Tokyo - In Front of a General Hospital”

“The Righteous Place” | 2020-2024 | archival pigment print | 210 × 297 mm each | ©︎ Hiroshi Ono, courtesy KANA KAWANISHI GALLERY

“Asama-Sanso Incident” “Stalin”

“Asama-Sanso Incident” “Stalin”

“The Righteous Place” | 2020-2024 | archival pigment print | 210 × 297 mm each | ©︎ Hiroshi Ono, courtesy KANA KAWANISHI GALLERY

“Cyprus Buffer Zone (Greek)” “Melilla Spain-Morocco Border Fence” “Cyprus Buffer Zone (Turkey)”

“Cyprus Buffer Zone (Greek)” “Melilla Spain-Morocco Border Fence” “Cyprus Buffer Zone (Turkey)”

“The Righteous Place” | 2020-2024 | archival pigment print | 210 × 297 mm each | ©︎ Hiroshi Ono, courtesy KANA KAWANISHI GALLERY

“Site of Shinzo Abe Shooting Incident” “New National Stadium” “Imperial Palace”

“Site of Shinzo Abe Shooting Incident” “New National Stadium” “Imperial Palace”

“The Righteous Place” | 2020-2024 | archival pigment print | 210 × 297 mm each | ©︎ Hiroshi Ono, courtesy KANA KAWANISHI GALLERY

“Yokohama US Military Plane Crash” “Yokota Air Base” “Hardy Barracks”

“Yokohama US Military Plane Crash” “Yokota Air Base” “Hardy Barracks”

“The Righteous Place” | 2020-2024 | archival pigment print | 210 × 297 mm each | ©︎ Hiroshi Ono, courtesy KANA KAWANISHI GALLERY

“Hitler's Führer Residence Ruins” “Mussolini's Firing Squad Site” “Hitler's Führer Bunker Ruins”

“Hitler's Führer Residence Ruins” “Mussolini's Firing Squad Site” “Hitler's Führer Bunker Ruins”

“The Righteous Place” | 2020-2024 | archival pigment print | 210 × 297 mm each | ©︎ Hiroshi Ono, courtesy KANA KAWANISHI GALLERY

Artist Statement

The theme of the solo exhibition “The Righteous Place” is “What is rightness?”

 

Offensive posts against individuals and groups have become the norm on social media. The basis for such posts is the “rightness” that the poster believes in. Terrorist attacks around the world are also considered extremely “correct” behavior in their interpretation of religion and worldview. With the advent of Donald Trump, the American people have been divided into two bureaucracies, one conservative and the other liberal, each having no doubt about their “rightness,” creating a society where there is almost no agreement between the two. Furthermore, while nuclear power plants have been considered “right” as the foundation of society and industry, the Fukushima Daiichi Nuclear Power Plant became out of control and has transformed people’s lives.

 

In this solo exhibition, photographs of places related to “rightness” are displayed side by side with texts describing their backgrounds. This is because, without the information in the text, it is impossible to awaken the memory of “rightness” hidden in the photographs. I hope that this exhibition will provide visitors with an opportunity to think about what “rightness” is, and to imagine “the greatest happiness for the greatest number of people” that lies beyond the rightness, by moving back and forth between the photographs and the texts.

Hiroshi Ono

Artist Profile

Hiroshi Ono was born in 1971 in Okayama, Japan, and has lived and worked in Amsterdam, the Netherlands, since 2002. He graduated from Tama Art University’s Department of Sculpture and completed his Master's Degree in Fine Arts at the Sandberg Institute in 2005.

After residencies worldwide as an Overseas Research Fellow for Pola Art Foundation, he participated in an overseas study residency program in the Netherlands for the Agency for Cultural Affairs from 2003 to 2006. Major solo exhibitions include “​Japan, Today” (2017, SUNDAY, Tokyo, Japan),  “Waterland Het heldere landschap” (2010, superstore Inc. viewing room, Tokyo, Japan), “Important things are spoken in a low voice” (2008, Ohara Museum, Okayama, Japan), “Line on the Earth” (2001, Nagi Museum of Contemporary Art, Okayama, Japan) and others. Selected group exhibitions include “OHARA CONTEMPORARY” (2013, Ohara Museum, Okayama, Japan), “OKAYAMA -BEAUTY CORREDOR-” (2010, Okayama Prefectural Museum of Art, Okayama, Japan), “The Present State of Contemporary Art” (2007, Utsunomiya Museum of Art, Tochigi, Japan), “Sight-Cruising” (2005, Marugame Genichiro-Inokuma Museum of Contemporary Art, Kagawa, Japan), “Traveling: Towards the Border” (2003, The National Museum of Modern Art, Tokyo, Japan) and others. His works are acquired as public collections by the Ohara Museum, Kiyosato Modern Photo Art Museum, and Tokyo Photographic Art Museum.

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