Graduated with a DEA (MA) from Université de Paris 8 in 2004

• 2024 “Forgive Us Our Trespasses / Vergib uns unsere Schuld,”
  Haus der Kulturen der Welt (HKW), Berlin
• 2024 “ARLES Les Rencontres de la Photographie ‘REFLECTION – 11/03/11,” Espace Van Gogh, France
• 2024 Solo Exhibition “Oita Cultural Expo! ’24 ‘War Is Over’,” Tanga Hodai Park Underground Ammunition Depot, Saiki, Oita
• 2024 Solo Exhibition “Special FUJII Hikaru “A Reenactment of ‘The Japanese War Art 1946’,” Musashi University Ekoda canpus, Tokyo
• 2024 “NOMADIC, ” The Jim Thompson Art Center, Bangkok
• 2023 Mori Art Museum 20th Anniversary Exhibition “WORLD CLASSROOM: Contemporary Art through School Subjects,” Mori Art Museum, Tokyo
• 2021 “ART 5 – KUNST UND DEMOKRATIE,” PLATFORM München
• 2021 Solo Exhibition “Special Exhibition Hikaru Fujii: Record of Bombing,” Maruki Gallery For The Hiroshima Panels, Saitama
• 2021 “Artists and the Disaster: Imagining in the 10th Year,” Contemporary Art Gallery, Art Tower Mito
• 2020 “Things Entangling,” Museum of Contemporary Art Tokyo
• 2020 “Thank You Memory: From Cidre to Contemporary Art,” Hirosaki Museum of Contemporary Art, Aomori
• 2019 Solo Exhibition “Les nucléaires et les choses,” KADIST, Paris
• 2019 “Aichi Triennale 2019: Taming Y/Our Passion,” Nagoya City Art Museum
• 2019 “Contour Biennale 9,” Mechelen, Belgium
• 2019 “Zero Gravity World,” Seoul Museum of Art
• 2019 “The Breathing of Maps,” Yamaguchi Center for Arts and Media
• 2018 Solo Exhibition “The Primary Fact,” ISCP, New York
• 2018 “Catastrophe and the Power of Art,” Mori Art Museum, Tokyo
• 2018 “How little you know about me,” National Museum of Modern and Contemporary Art, Korea
• 2018 “Fast Forward Festival 5,” Onassis Cultural Center, Athens
• 2018 “Manila Biennale,” San Ignacio Church
• 2018 “Travelers: Stepping into the unknown,” National Museum of Art, Osaka

• 2017 “Nissan Art Award 2017,” Grand prize

Fujii Hikaru’s practice is based on the notion that artistic production implies a close relationship with society and history. Mainly in the form of video installation, he creates work that responds to contemporary social issues through detailed research and fieldwork on unique cultures and histories of various countries and regions. Fujii organizes workshops–intersections for interdisciplinary and artistic collaboration between specialists from diverse various fields. Here he reenacts historical events with participants as well as generates a situation where an active discussion arises. His methodology links the present with the past in creative ways, while structurally critiquing the domains of history and society that remain invisible.

In the selection process for this second Tokyo Contemporary Art Award (TCAA), having the six finalists as candidates, we visited the artists’ studios and other spaces in Tokyo and the Kansai area, and carried out interviews and intensive discussions for a three-day period. We concluded to award two artists, Fujii Hikaru and Yamashiro Chikako, for the 2020-2022 period. Both made us full of expectations about their conceptions for new work and their making a turn from their practice thus far.

This year the outbreak of the COVID-19 virus meant that some members of the selection committee had to put off their trips to Japan, but the Internet enabled them to take part in the entire selection process and provided a setting for a full discussion. While that experience confirmed that the net, as a means of communication, enabled us to overcome the barrier of distance, to share and deepen our discussion, it also made us painfully aware that unpredictable changes, including disease and disaster, can readily block travel between countries and the sharing of experiences, which had been so simple.

Fujii Hikaru’s work varies between a cinematic practice with a script, and a documentary approach, recording the situation and performers objectively. He adapts archival materials with them in attempts to reconsider history through moving image. This time he has been exploring a theme deeply related to his personal history, with he himself narrating, and conceives of his new work from a point near the perspective of both the subject and the creator.