Subbing The Subbing
2016 Made in Bangkok, Thailand
Work format: Video installation (Dimension variable)
Materials: 2 TVs
Introduction:
In Spain, there is a town inhabited by people with the surname Japón, which means Japan in Spanish.
400 years ago a group of Samurai traveled to Europe for some missions.
During their journey, Christianity was prohibited in Japan and some of the Samurais decided to remain to live in Spain to live as Christian. Those named Japón in the Spanish town today are regarded as possible descendants of the Samurai from history.
The work EL JAPONÉS aligns the artist himself as a “Japanese person who just came from Japan” and Mrs. Japón as a “descendant of historically the first migrant from Japan”.
The dialog itself looks like a simple praise of communication but the two juxtaposed "Japanese" people imply and ask different notions such as "nationality", "race" and "immigrant integration".
Special thanks: Mr. and Ms. Japóns whom I met in Coria del Rio
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2022 at Doubutsuen-mae Shopping street, Osaka, Japan / 动物园前商店街(大阪)/ 動物園前商店街(大阪)
Work format: Performance recorded with iphone screen recording / 苹果手机录屏 / iphone画面録画
Materials: tarpaulin / 防水布 / ターポリン(2000 x 3000 mm / 1750 x 1500 mm) , any monitor / 电视监视器 /モニター
(im)possible dialogue
Since 2016
Work format: Performance / Video installation (Dimension variable)
Introduction:
The series “(im)possible dialogue” is one of Yoshida’s core artistic practices. It has been presented both as a performance and as a video installation. The structure is simple: two people talk to each other. The only rule is that they do not share a common mother language.
At first, a conversation between two people speaking entirely different languages seems impossible. Yet as the exchange unfolds, the two monologues begin to resonate. Moments occasionally emerge in which a form of communication—one that does not rely on semantic understanding—seems to come into view.
This simple setup opens up many possible layers of communication, where misunderstanding—or even not understanding—may still have a place within the dialogue and quietly continue beyond cultural and linguistic boundaries.
Within such coexistence, a kind of “understanding” not based on linguistic meaning may begin to take shape. The performance is often conducted one-on-one between Yoshida and a participant, without any recording. The absence of a shared language creates an unexpected sense of freedom: at times leading to candid confessions, and at other times drifting into unexpected forms of exchange.
Rather than relying on a dominant or shared language, the work creates a space of linguistic fairness, where both participants remain fully within their own languages and cultural backgrounds. In this space, new forms of encounter and relationship have the possibility to emerge.

Catching a Catfish with a Gourd (Hyōnen-zu)
Josetsu, ca. 1413–1415
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Above: Exhibition view at BUG, 2016





