Aoyama Meguro is pleased to present Satoshi Hashimoto’s solo exhibition “Write with Night” September 19 – October 18 / “A Name Is a Grave” October 18 – September 19.
Through a wide range of forms, including performance and instruction-based works, Hashimoto has intervened in social institutions and modes of spectatorship, questioning the assumptions and relations that underpin the world we take for granted. He identifies and brings to light choreographies embedded in everyday objects and public spaces that regulate people’s behavior without their awareness. Such critical and political approaches, which hold the distinction between public and private realms in suspension, have been central to Hashimoto’s practice.
Alongside these interventions into human behavior and social institutions, Hashimoto has also turned his attention to phenomena and structures at work in the world at different scales, including celestial motion, weather, physical laws, and economic dynamics. Another approach that has become particularly pronounced in his recent practice shifts the speaking subject from human beings to things themselves, presenting laws and phenomena latent in the world as short sentences that read as though those laws and phenomena were themselves issuing declarations.
The large-scale presentation of “The Beautiful, the Ambiguous, and Itself,” curated by Mizuki Endo at kudan house in 2024, marked a major turning point in Hashimoto’s practice. In works featuring short sentences such as “We have two eyes because we took one from someone else,” “At night, the sun that set below the horizon comes,” and “In the near future, all names will vanish / In the not-so-distant future, all substances will vanish,” inquiries that had previously been dispersed across different forms and subjects were condensed into short sentences and brought forcefully to the fore, unsettling the scales and categories of the world, as well as the very certainty of existence itself.
Two years on from his 2024 solo exhibition “Be Gone,” the present exhibition takes shape through two perspectives, “Write with Night” and “A Name Is a Grave,” with their respective dates running in reverse. Through a multilayered configuration that draws in space and time both within and beyond the gallery, a new exhibition is brought into being.
We invite you to experience Hashimoto’s new works and the ways in which they unfold.
“1 = 1,” taken as the premise of mathematics, is not a confirmation of identity, but the beginning of identification. It is the first disguise for treating different things as the same. The 1 on the left and the 1 on the right, even though they look the same in form, are not the same thing. They appear in a different order and stand in different positions. It only looks as if the same form is being repeated; already, there are separate appearances.
Nevertheless, mathematics treats them as the same. In that act, difference does not disappear. It is excluded from questioning. “1 ≠ 1” is narrowed into “1 ≒ 1,” and then fixed as “1 = 1.” Here, the equals sign begins to function not only as something that indicates the relation between two things, but as a form that leaves difference unquestioned.
This form is not completed within mathematics alone. Society, too, operates by establishing forms that leave difference unquestioned while still holding the differences of distinct things. Money transforms differences in value; ownership, relations to things; names, what continues to change; records and evaluations, multiple events―each into forms that can be exchanged and managed. In this sense, society may be called an apparatus that repeats “1 = 1.”
But the identity established there is not something naturally present. Position, contact, change, deviation, and chance do not disappear. They are pushed behind identity and remain as hidden differences. “Reality” and “fact,” too, are constituted within a fixed fiction. When that is repeated and treated as if it were fact, its fictionality is hidden.
What is called literature, art, and the like, placed on the side of fiction, touches the fictionality that society has hidden as reality while making fiction. Rather than moving away from reality, it lays bare how reality has been made, how it has been identified, and how it has silenced difference.
The equals sign is not a neutral symbol, but the smallest social apparatus for silencing difference. “1 ≠ 1” begins, from the place where the equals sign tries to close, to shake counting itself. What is called one is not a unit cut off from the world. Number is the name for treating flow as if a stop had been imposed upon it.
Satoshi Hashimoto
Analyst, anarchist, artist, arab, act, abstract. Selected exhibitions and events include “Can't Go, Please Come” (ARCUS, Ibaraki, 2010); “Arbitrary Decisions and Prejudices: I Divide the Audience” (The National Art Center, Tokyo, 2012); “False name” (14 EVENINGS, The National Museum of Modern Art, Tokyo, 2012); “Loose Lips Save Ships” (The Museum of Contemporary Art, Tokyo); “Everything and Others” (LISTE, Basel, 2016); “The World's Three Major Round Things: the Sun, the Moon, the Eye” (AOYAMA MEGURO, Tokyo, 2017); “Night - Time = Darkness” (Hans & Fritz Contemporary, Barcelona, 2018); “Festival of Minimal Actions” (Kunsthalle Wien, Reumannplatz, Wien, 2020); and “The beautiful, the ambiguous, and itself” (kudan house, Tokyo, 2024). He has also developed collective activities through projects such as An Art User Conference.