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 most essential artistic practices.
It has been presented both as a performance and as a video installation. The setup 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 continues, the two monologues begin to resonate.
Moments appear in which a form of communication—one that does not rely on semantic understanding—briefly comes into view.
This simple structure reveals the many layers of communication,
where misunderstanding—and even not understanding—can live within the dialogue and still coexist beyond cultural and linguistic boundaries.
From within that coexistence, a kind of “understanding” that is not based on linguistic meaning begins to take root.
The performance is often done one-on-one between Yoshida and a participant, without any recording.
The absence of a shared language creates an unexpected freedom: at times leading to candid confessions, and at other times developing into philosophical exchanges reminiscent of Zen dialogue.
Instead of 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 can emerge.

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





