11.FEB.2021 ──────── 09.MAY.2021
© Tomoko Yoneda. Courtesy of the artist and ShugoArts
11.FEB.2021 ── 09.MAY.2021
Recoletos Exhibition Hall
Paseo Recoletos 23, 28004 Madrid
Tel: 915 81 61 00
Monday (except public holidays): 14:00 – 20:00
Tuesday to Saturday: 11:00 – 20:00
Sunday and public holidays: 11:00 – 19:00
25 December; 1 and 6 January
Special opening times:
24 and 31 December, 5 January: 11:00 – 15:00
*The venue will be cleared 10 minutes before closing time. The last entrance times (18:30 or 19:30) only allow a 20-minute tour.
Available in Spanish and English. Online format accessible by smartphone with no previous downloads or installations necessary.
Also available through an audio device from the reception desk (subject to availability).
The exhibition hall has a wheelchair ramp and an indoor elevator.
Cloakroom. Temporarily unavailable due to the COVID-19 situation.
LAIE Tel. 911 703 851 email@example.com
Tomoko Yoneda (Akashi, Japan, 1965) studied photography in Chicago and later in London, where she currently lives. Driven from an early age by her journalistic vocation, her work often refers to contemporary historical events such as landscapes and interiors associated with armed conflicts, with which she aims to record the intangible presence of history in the daily course of life and not just in the monuments that evoke it or the remains that bear witness to it.
The exhibition offers a broad overview of her work which, despite having already been exhibited in Japan and South Korea in monographic form, had not yet been the subject of a solo exhibition in Europe.
Curator: Paul Wombell
Select an option
- Entrance ticket and audio-guide for the two temporary exhibitions and Espacio Miró. The audio-guide is accessible online using your smartphone with no previous downloads or installations necessary. You can also hire an audio-guide from the reception desk (subject to availability).
- Price (Tuesday to Sunday): €9. Beneficiaries of reduced rates, €7. Mondays (apart from public holidays): free entrance; otherwise €4.
- Don’t forget to bring your headphones!
If you already have a ticket and want to add the audio-guide, you can hire one for €4
- On a tour lasting around one hour, our cultural mediators will comment on the main works in the exhibition, providing a fascinating insight into the meaning and importance of Tomoko Yoneda’s work. Price: €7. Your entrance ticket also gives you access to the other temporary exhibition and Espacio Miró.
- Times: Wednesday: 18 - Thursday: 13 and 18. Due to the current COVID-19 restrictions, groups must be a maximum of five visitors plus the guide.
- Reservation essential by writing to: firstname.lastname@example.org
- Access to the two temporary exhibitions and Espacio Miró.
- General entrance ticket: €5. Beneficiaries of a reduced rate: €3.
- Free general entrance (€0): Mondays (apart from public holidays), 14:00 – 20:00.
Beneficiaries of groups entitled to free entrance must get a ticket at the ticket office.
Customers of MAPFRE and partner entities
- People with a MAPFRE insurance policy are entitled to two free tickets to these exhibitions. If you are visiting for the first time, please read these simple instructions.
- If you belong to any of Fundación MAPFRE’s partner entities, you can get a reduced ticket (€1) at the ticket desk of the exhibition.
- Groups must be accompanied by a guide. If you wish to request this service from Fundación MAPFRE, you can find information and prices at: email@example.com
- The group must comprise a minimum of six people. At the moment, due to the COVID-19 crisis, the maximum group number is also six people (including the guide).
- Thursday: 11:00 - 11:30 - 12:00 - 16:00 - 16:30 - 17:00
- Maximum duration of the tour: 60 min.
- It is mandatory for guides to use some form of audio-guide system.
- Confirmation of the tour implies the acceptance of the Rules for External Groups.
Educational activities for schoolchildren are temporarily suspended.
Educational activities for families are temporarily suspended.
- All entrance tickets give access to the two exhibitions.
- No refunds or changes are permitted except in the case of justified force majeure.
- Capacity is currently reduced due to the COVID-19 crisis. Book your ticket online to avoid queues.
Identity: Tomoko Yoneda is a Japanese photographer who currently lives between London and Helsinki. In this respect the artist enjoys a privileged viewpoint that enables er to explore the roots of her nation and her people from the perspective of the ‘other’, or at least someone who divides their life between two places. Inspired by reading the essays of Nobel laureate Kenzaburō Ōe, between 1989 and 2015, Yoneda created a series of projects that address the issue of Japanese identity and the country’s imperial past with the aim of correcting certain prevailing viewpoints. In his work, Ōe reflects on the recent history of Japan, its relationship with its close neighbors and what he called the imperial system, to which he was opposed.
History and memory: In her work, Tomoko Yoneda creates a type of committed and moral art which delves into the memory of individuals to remind them of the past and draws attention to events that have happened and should not happen again. Her images deal with the history of the West and the East and, as a general rule, focus on violent events either in the past or still continuing today, such as the standoff that keeps North and South Korea divided. Her projects on the First and Second World Wars, Bosnia, Lebanon, Northern Ireland and Bangladesh are among her most significant works. All of them seek, almost by allusion, to recover the layers of memory hidden in history on the one hand, and on the other to make people reflect on the events that occurred in the hope that this will help to prevent them from happening again.
Imperialism: Between 2009 and 2015, Yoneda embarked on five projects that analyze the legacy of Japanese imperialism and ‘Japaneseness’: Kimusa, Japanese House, Cumulus, The Island of Sakhalin and DMZ, perhaps inspired by reading the essays of Nobel laureate Kenzaburō Ōe, who called for a reassessment of Japan’s recent history, its relationship with its close neighbors and what he called ‘the imperial system’, which he opposed. Imperialism continues to be a controversial issue for the Japanese even today. In the heart of the country, in homes and even in schools, it is difficult to talk about the atrocities committed by the Imperial Japanese army in its East Asian colonies, despite the passing of the years, perhaps in the hope that if they are not mentioned it is almost as if they had not taken place.
Albert Camus: In December 1957, at the Nobel Prize ceremony, Albert Camus asserted that his entire life’s work had been guided by the desire for “a truly human and universal justice”. Yoneda and the Nobel laureate have certain traits in common with regard to the way they see the world and life: a kind of intolerance towards any form of torture of human beings, or sacrifice for the sake of the supposed idealism of totalitarianisms, empires or future utopias. For both authors, this rejection entails the task of denouncing injustice through art. Through consciousness and remembrance, it is possible to ‘repair’ the damage done and raise awareness so that the ‘evil’ is not repeated: this is the goal of committed art.
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