Mitsutoshi Hanaga: 1969 (Sankibunko, Kanazawa)



7 Sep – 25 Nov, 2019



5-27, Sakura-machi, Kanazawa, Japan
phone : +81 76 254 6596
e-mail :


● Open regularly April to November in the year
● Open only on Fridays, Saturdays, Sundays, Mondays.
● Library houres 10am – 5pm


More info:


© Mitsutoshi Hanaga. Courtesy of Mitsutoshi Hanaga Project Committee.


Curse Mantra: How to Kill Factory Owners

Jusatsu Kito Sodan (Mitsutoshi Hanaga)

(Para Site Residency Flat, Hong Kong)


curated by Koichiro Osaka (Asakusa)


23 Aug – Sep 14, 2019


August 23 – September 14, 12-5pm*
Opening Reception: August 22, 6-8pm
Closing Party: September 14, 6-8pm
5/F, 30 Queen Street
Sheung Wan, Hong Kong

*The exhibition is by appointment only. Please contact us at at least 48 hours prior to desired viewing time.


More info:


Throughout recorded history, a definitive privilege of being in power has been the right to decide life and death. Modernity endowed the state with a new biopolitical mechanism to control an individual’s life and the living body, through the precarious conditions of the market. These allow only questionable consideration of the ethical implications of emotional justice, which nevertheless still functions within a claimed moral paradigm.


The 1960s saw instances of environmental pollution in Japan, spreading fatal diseases such as the Itai-itai disease and Yokkaichi asthma among vulnerable citizens in rural regions. While lengthy scientific investigations were undertaken to determine the causes, the factory’s mishandling of industrial waste continued, and this malaise was simultaneously obfuscated by colluding local politicians, bureaucrats and business owners, sacrificing people’s health for corporate profits. Amid the victims’ suffering and unheard voices, a small collective of Buddhist monks and followers assembled a protest group that traveled across the country to disputed industrial complexes. They formed a procession, drumming and chanting sutra, and performed Abhichara rites—in order to curse factory owners to death. 


Traversing art, politics, and religion—an execution through tantric practices of esoteric Buddhism informed by avant-garde activism, Jusatsu Kito Sodan (1970-unknown) fought for spiritual and physical retaliation on behalf of the dead, and exposed the conditions of moral and emotional injustice in their newly constituted society. The group challenged industrialists with counter-murder attempts, legally considered as an “impossible crime” that could not be prosecuted in their judiciary system. These activities emerged from a critical position about the historical trajectories of their religious sects and the use of Tantric Buddhism for “spiritual protection” of the state since the 9th century, with the aim of returning power to the hands of those in need.


Curse Mantra: How to Kill Factory Owners gathers scarce materials of literature produced by member priests and documentary photographs by Mitsutoshi Hanaga (1933-99), who later became a monk after a transformative experience with the group. Accompanied by two essays, A Brief History of Curse Mantra and Democracy as a Farce (Figuring the CIA), the exhibition looks back in time to early examples of anti-corporate and anti-government activism, and questions the very belief—while expressing mistrust—in the effectiveness of modern progressive politics. 


The exhibition is curated by Koichiro Osaka (Asakusa), who is currently a Curator-in-Residence at Para Site, in collaboration with Aoyama | Meguro, Tokyo, with generous support from Taro Hanaga. Special thanks to Jaime Marie Davis, Jiaru Wu, and all at Para Site, Hong Kong.



Mitsutoshi Hanaga (b. Tokyo, 1933-1999) is a photojournalist working at the intersection of art, politics and society, and a dedicated advocate of avant-garde arts and student activism since the 1960s until the 1980s. Hanaga’s photography has been published in widely circulated magazines such as Asahi Graph (1970) and LIFE (1964). It has garnered renewed attention in recent years as a vital documentation of exhibition and performance history, and has been exhibited at Pompidou Centre, Paris (1983), Asia Culture Center, Gwangju (2015), Tate Modern, London (2015), National Museum of Modern Art, Tokyo (2018), among many others. 

Koichiro Osaka (b.1979) is a curator, writer and the founding director of Asakusa, a Tokyo-based art space for curatorial collaboration and practices. After studying human sciences at Waseda University, he moved to Bangkok (2001-2004) and then to London (2005-2012) to develop his skills in public policy and economics. His broad interests in humanities and social sciences led him to consider contemporary art as a means to foster critical thinking through generating interdisciplinary questions. He graduated from Central Saint Martins in art criticism and curation.


Curse Mantra: How to Kill Factory Owners

Curator-in-Residence: Koichiro Osaka


Mitsutoshi Hanaga : Awakenings: Art in Society in Asia 1960s -1990s (The National Museum of Modern Art, Tokyo)



10 Oct – 24 Dec 2018


Location: Art Museum Special Exhibition Gallery
Date: October 10 – December 24, 2018
Time: 10:00-17:00 ( Fridays and Saturdays open until 20:00 )
*Last admission : 30 minutes before closing.
Closed: Mondays ( except December 24, 2018 )
Admission: Adults: ¥1,200( 900 )College / University students: ¥800( 500 )

Free Admission Days: November 3, 2018
Organizers: The National Museum of Modern Art, TokyoThe Japan Foundation Asia CenterNational Museum of Modern and Contemporary Art, KoreaNational Gallery Singapore

More info:


Design: Gento MATSUMOTO


Paris Internationale 2017


10.18 – 22, 2017


Paris Internationale 2017
11, Rue Beranger 75003 Paris, France

Aoyama Meguro x Gallery Kochuten: Booth 8FM


Date: 18-22 October 2017

Tuesday, October 17th
Professional Preview, 11-5pm
Opening, 5-8pm
By invitation only.



Paris Internationale
Galerie Antoine Levi, Paris
Galerie Crevecoeur, Paris
Galerie Gregor Staiger, Zurich
Galerie High Art, Paris
Galerie Sultana, Paris

Aoyama Meguro x Gallery Kochuten is pleased to announce its participation in Paris Internationale 2017.
Artist: Mitsutoshi HANAGA  



羽永光利一〇〇〇(NADiff A/P/A/R/T、恵比寿)


4.28 – 5.28, 2017


会期:2017年4月28日(金)- 5月28日(日)
月曜日定休 ※月曜が祝日の場合は翌日
会場:NADiff a/p/a/r/t B1F NADiff Gallery
〒150-0013 東京都渋谷区恵比寿1丁目18-4 1F
営業時間 12:00-20:00

会場:NADiff a/p/a/r/t 店内

Installation view, 羽永光利一〇〇〇(NADiff A/P/A/R/T、恵比寿)

この度NADiff Galleryでは、写真家・羽永光利の作品群を纏めた圧倒的ヴォリュームのレゾネ的アーカイブ集『羽永光利 一〇〇〇』の刊行を記念した展覧会を開催いたします。

1933年東京生まれの羽永光利は、1950年代後半から1980年代にかけて日本の社会が大きく移り変わっていく激動の時代を潜り抜け、その生涯をかけて膨大な数の写真を残しました。 戦後日本が様々な矛盾と社会問題を抱える時代において、羽永は弱者や辺境の人々の視点からシャッターを切り、前衛芸術、アンダーグラウンド劇場、イベント、公害問題、学生運動、舞踏、コミューン活動など多岐に渡る現場の写真を記録し続けました。近年、10万点にもおよぶ膨大な写真群の全貌が明らかになるにつれ、時代の目撃者という写真家像にとどまらず、「羽永光利は、撮影とは現場へ介入するラディカルな行為であると証明した芸術家だ」と、新たに国内外から熱い注目を集めています。
本展では『羽永光利 一〇〇〇』に収録される作品を中心に構成し、若者たち、表現者たちの姿を至近距離で見守り続けた羽永光利の行為とまなざしをたどり、近年「再検証」され益々注目が高まる羽永光利の仕事の全貌に迫ります。

オープニングトークイベントでは、自身が主宰するメールマガジン『ROADSIDER’S WEEKLY』内での羽永光利特集において、羽永のドキュメンタリー写真家としての側面を紹介した編集者・都築響一氏、そして戦後日本のアヴァンギャルドと昭和の視覚文化が専門の東京ステーションギャラリー学芸員・成相肇氏を迎えるオープニングトークを開催します。さらに、NADiff a/p/a/r/t 店内におけるブックフェアや、DOMMUNEでの特番放映の関連イベントもございます。






NADiff A/P/A/R/T(恵比寿)


「パフォーマンス写真家とその作家たち」 トークイベント




京都岡崎 蔦屋書店(京都)





赤瀬川原平 赤瀬川宅 1967年か 写真:羽永光利

Mitsutoshi Hanaga-1000BUNKO, ART FAIR TOKYO 2017, Aoyama Meguro × Gallery Kochuten (Tokyo International Forum/ Booth N51)

3.16 – 19, 2017




Venue: Tokyo International Forum, Hall E and Lobby Gallery
Aoyama Meguro × Gallery Kochuten/ Booth N51
Mitsutoshi Hanaga website:

Opening Dates:
Thursday March 16th 2017
16:00 – 18:00 Private Preview (Invited guests only)
18:00 – 21:00 Vernissage (Invited guests only)

Friday March 17th 2017
11:00 – 13:00 VIP Advance Admission (Invited guests only)
13:00 – 20:00

Saturday March 18th 2017
11:00 – 20:00

Sunday March 19th 2017
10:30 – 17:00
※Last admission is 30 minutes before closing.

Tokyo International Forum,Hall E and Lobby Gallery
3 Chome-5-1 Marunouchi,Chiyoda-ku,Tokyo-to 100-0005, Japan

Tel: 03-5797-7912 E-mail: URL:
more info:


We would like to announce the publication of the first full-scale photo book of the work of Mitsutoshi Hanaga (1933 – 1999), “Mitsutoshi Hanaga 1000,” as the fifth publication of the paperback series “1000 BUNKO,” which follows “Takuma Nakahira 1000.” Each volume of this series is so incredibly thick that it appears to be a monument in itself.

Mitsutoshi Hanaga went through the postwar period from the late 1950s to the late 1980s when Japanese society experienced a drastic transition and he left behind approximately 100,000 photographs throughout his lifetime.
Living in postwar Japan, which was experiencing rapid growth and was burdened with various contradictions and social issues, Hanaga continued to record the reality of diverse scenes. He documented events such as social movements, student protests, the pollution issue, young people in the street or bars, Butoh, underground theater, and avant-garde art, which was suffering from neglect at the time, through photography from a perspective of the weak and outcast. This unique style of Hanaga, who consistently focused on his subjects by close contact with diverse locations and situations, is beyond comparison.
In recent years, along with the full picture of his enormous photographic archive being revealed, the existence of Hanaga is attracting remarkable attention domestically and internationally. He is shown not only as “a witness of the era” and “a photographer,” but also in the context of performance art, saying “his radical, repeated actions themselves, shooting while intervening in the locale, can be considered as his artistic expression.”

Upon production of this photo book, negatives left by Hanaga, which had been mostly unprinted, have been scanned and reviewed for selection for display since 2013. As a result, photos are arranged in chronological order, not by category, and chronology of the period, background information in English/Japanese, and text by Raiji Kuroda are contained.


Cooperation: 一〇〇〇BUNKO, MATCH and Company, TOKYO-SPORTS, Daisuke Motogi Architecture


h80_1000bunko_logoh50_MATCHandCompanyh80_tokyosports h80_dma_logo




1967年12月9日 ゼロ次元(加藤好弘)「全裸防毒面歩行儀式」(撮影:羽永光利)


ART PHOTO TOKYO -edition zero- /Booth 311(茅場町共同ビルディング・東京)

11.17 – 20, 2016

Booth: 3F, 311

First Choice: 15:00-17:00
Opening Reception: 18:00-21:00

開場時間:11月18日(金)・19日(土) | 12:00 – 20:00
11月20日(日) | 12:00 – 17:00
〒103-0025 東京都中央区日本橋茅場町1丁目6-12

More info:ART PHOTO TOKYO -edition zero-

田中功起, I considered the title of this work but it never come up. Following things could be related to the title.
1) I love to go out from the exhibition space because of BankART facing the sea.
2)There are so many trashes which some artists made and showed as art work before in BankART.
3) I want to make a raft using those trashes.
4) I think it’s not a question that the raft float on water or not but it’s good to be floating there.
, 2007, 400x600mm, ed.5



折元立身, The Document of ANIMAL ART 1978 – 2014 (LIMITED BOX), 2015, Movies, Catalogue raisonne, Photo, Box made of paulownia



橋本聡, Photographer: Bodybuilder, 2012, 73.8×110.8cm, ed.2of 5