’A Way of Documentation’ from Reiji Saito, Hyslom & Mizuki Endo

’A Way of Documentation’ from Reiji Saito, Hyslom & Mizuki Endo

Tues 25 Jan 2022, 07 pm – 08 pm
Á Space
Alley 59 Ngô Gia Tự, Ô Cách Market, Long Biên district, Hanoi
Registration link (20 people maximum)

From the organizer:

Á Space is delighted to present the last letter on the last day of our show: A response to ‘Till later letters’, curated by Mizuki Endo, which features these following artworks by Reiji Saito and Hyslom:
1. Reiji Saito, ’21’, 7:26, 2018
2. Hyslom, ‘Documentation of Hysteresis’ 2009-2018, 21:45
3. Reiji Saito, ’22’, 7:42, 2018
4. Hyslom, ‘Beginning with eating fire’, 11:25, 2016

From Mizuki Endo:

“In this program, I think I should not write ‘curatorial statements’, which surely interferes with the audience’s imagination. The title tells everything I want to say. These works are not like so-called contemporary art, but their recording practices are quite radical and essential for our way of seeing and remembering. Thanks a lot.”


Formed in 2009, hyslom consists of Itaru Kato, Fuminori Hoshino, and Yuu Yoshida. The periodic exploration of developed land and encounters with people and objects there, as well as a sense of incongruity resulting from these experiences, serve as a basis for their artistic expression. hyslom turns “field-play”, their method for physically and playfully experiencing a given environment, into video, photography, and performative artwork.

The group further develops the memories of “field-play” into a wide array of other media, including sculpture, theatre, and film. In collaboration with Hideo Nin, a well-known figure in the world of racing pigeons, hyslom became a member of the Japan Racing Pigeon Association under the name Nin-hyslom Hatosha (Nin-hyslom Pigeon Home), in 2015. hyslom also organizes workshops and exhibitions related to racing pigeons, thus gradually merging the roles of care takers and artists. In 2018, hyslom was awarded the Kyoto City Special Bounty for Art and Culture.

Reiji Saito is a video artist based in Tokyo. His solo exhibitions include 25, gFAL (Tokyo, Japan, 2021); 24, LAVENDER OPENER CHAIR (Tokyo, Japan, 2020); #18-4, switch point (Tokyo , Japan, 2016). Group exhibitions include Art au Centre (Liège City , Belgium, 2021); And again {I wait for collision}, KINGS Artist-Run (Melbourne, Australia, 2019); Nowaki, Sublime, Sagamihara, (Hachioji City / Sagamihara City , Japan, 2018); HIKARU SUZUKI / REIJI SAITO – Video screening, KAYOKOYUKI (Tokyo, Japan, 2017); Alternative Choice, Yokohama Civic Art Gallery Azamino (Kanagawa, Japan, 2015).

Reiji Saito takes various close-up images of everyday subjects which exist within his reach and creates a video that represents the transient images of the events engraved at the bottom of memory. Saito continues to shoot and record his daily life on a routine basis as if writing a diary. In the process of transforming these materials into video artwork, he sticks meticulously to present nothing but the surface of the recorded events, with the view to strip off the meaning or value which are supposed to be contained within them. That is probably why Saito’s video artwork, produced by sequencing the record (i.e. memory) of his daily life, appears as the naked, highly purified expression of the artist’s life and silently sneaks into the viewer’s consciousness with some sense of lightness.

Mizuki Endo is a curator, art consultant and writer. He has worked as the executive director of Higashiyama Artists Placement Service (HAPS) in Kyoto since 2011, and as the artistic director of Vincom Center for Contemporary Art (VCCA) in Hanoi from 2017-2020. Endo established three artists-run spaces in Asia; Art Space Tetra (Fukuoka, 2004), Future Prospects Art Space (Manila, 2005) and Playroom (Mito, 2007).

He was awarded the 3rd Lorenzo Bonaldi Art Prize (Bergamo, 2005), was the networking curator of Singapore Biennale 2006, the director of Arcus Project (Moriya, Japan, 2007-2010), the curator of Cream: International Festival for Arts and Media, Yokohama (2009), the collaborative curator of Fukuoka Asian Art Triennale 2009, the curator of Yutaka Sone: Perfect Moment (Tokyo Opera City Art Gallery, 2011), and the residence program director of Kunisaki Art Festival (Oita, Japan, 2014).

His major publications are: ‘America MADE: Interviews with Shigeo Chiba, Yuko Hasegawa, Chieko Hirano, Isako Kumagai, Takashi Murakami and Koki Tanaka’ (Tontuu Records, Fukuoka, 2009), ‘Yutaka Sone/Perfect Moment’ (Getsuyosha, Tokyo, 2011) and ‘The end of the road, the care for the self’ (Pub, Fukuoka, 2013). He is also one of the translators of James Clifford’s ‘Routes: Travel and Translation in the Late Twentieth Century’.

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