Even before the shut down of “After ‘Freedom of Expression?'” — the Aichi Triennale exhibit that included the “Statue of Peace,” a work symbolizing “comfort women” that has stirred debate over what can be publicly displayed — artist Bontaro Dokuyama had a solution to its removal. At his 2018 exhibition “Public Archive,” he presented, along with video interviews of Korean women speaking about the controversial issue, scanned digital data of comfort women statues in Seoul that could be shared and reproduced. Memory isn’t so easily buried, he seemed to assert.
If the 35-year-old’s work is about the resilience of memory within cultural narratives, it is also about the mutability of it. I sat down with Dokuyama at the Aichi Triennale press preview to discuss his work and his new project for the festival.
Unable to view this article?
This could be due to a conflict with your ad-blocking or security software.
Please add japantimes.co.jp and piano.io to your list of allowed sites.
If this does not resolve the issue or you are unable to add the domains to your allowlist, please see out this support page.
We humbly apologize for the inconvenience.