4.3 Art Project -逆走して歴史と出会う-




〒544-0034 大阪府大阪市生野区桃谷4丁目4番11号


An Art Project on the relationship between the Jeju 4.3 Incident and Japan

Presentation by Project Artist Fujiwara Yuki  - Osaka –


4.3 Art Project

- Running backwards and meeting history –


Saturday, May 25, 2024, 18:00 - 20:00


4-4-11 Momodani, Ikuno-ku, Osaka-shi, Osaka 544-0034, Japan


Admission: Free

<プロジェクトステートメント >







<Project Statement>

This art project focuses on the relationship between Japan and the “Jeju 4.3 Incident,” which took place on Jeju Island, South Korea from April 3, 1948 to September 21, 1954.

During a three-month residency on Jeju Island in 2016, Fujiwara began during the American military occupation of Jeju He first learned about the “Jeju 4.3 Incident,” a massacre on the island that began during the American military occupation. Upon researching the incident, he learned that it had a very close relationship with Japan, and he wondered if there was any medium- to long-term project in Japan, which led him to consider this project. After completing his residency, Fujiwara continued to participate in the Jeju Art Fair and intermittently stayed on Jeju Island to conduct research for the project itself, deepening exchanges with local residents and art professionals. The concept of this project began by imagining the Jeju 4.3 Incident while standing on the Japanese side of the island (Sea of Japan side), which is connected to the island by the sea, and looking out over the sea. 

At the time of the incident, many Koreans fled to Japan from Jeju Island on boats (mixed in with cargo ships and fishing boats) and are still living in various parts of Japan as Korean residents, generation after generation. Although this incident itself was a massacre between Koreans of the same ethnic group on the Korean island of Jeju, as mentioned above, it has a close relationship with Japan and is a history that must be considered by the Japanese people as well. This project is a reaction to this series of history from the standpoint and perspective of Japanese people on the side of Japan. 


We will start by making more people aware of the 4.3 Incident and the relationship between Japan and the 4.3 Incident, and hope that art will help people remember this history and lead to creative exchanges between Japan and Korea based on this incident.





1部 「裏」編 202543日より1ヶ月間開催予定。 開催地:大阪・生野区



2部 「逆」編 202643日より1ヶ月間開催予定。 開催地:長崎・大村



3部 「反」編 202743日より1ヶ月間開催予定。 開催地:韓国・済州



<Concept of the work>

The project framework is based on the Jeju 4.3 Incident, a massacre that took place on Jeju Island in South Korea, and the fact that many people who fled to Japan after the incident live in the island. The first part (Ikuno-ku, Osaka), the second part (Omura, Nagasaki), and the third part (Jeju, Korea) will be presented one year at a time for a total of three years to create a three-part three-dimensional work. This is an attempt to make this act a reaction to history.


The first part : “Back” version  To be held for one month starting April 3, 2025. Venue: Ikuno-ku, Osaka

For example, suppose there is a sign related to the incident “1948.4.3” within Jeju Island. That is the reading order of the numbers for people standing on Jeju Island, but when you stand in Japan and look at (or imagine) Jeju Island, you will see the reverse side of the numbers. However, in relation to Japan, we see not only the reverse side but also the front side. The symbolic number “1948.4.3” is mixed with the front side and the back side to express the current situation. The interview video is irradiated toward the slit-shaped incised numeral to bring the numeral to light.


The second part: “Reverse” version Scheduled to be held for one month starting April 3, 2026. Venue: Omura, Nagasaki 

Participatory work in which transparent bottles containing messages from the Japanese side to Jeju Island will be floated into the sea with GPS attached, delivering messages from Japan to Jeju Island. First, handwritten letters from those involved in the 4.3 incident and those interested in the project will be packed into transparent glass bottles and exhibited. After the exhibition period, the bottled messages sealed in the bottles will be thrown into the Sea of Japan (the waters off the Goto Islands). The bottles will be imagined to reach Jeju Island directly or indirectly via other countries in a few months, years, or decades, depending on the influence of ocean currents and winds.


The third part: “Anti” version Scheduled to be held for one month from April 3, 2027. Venue: Jeju Island, Korea

Using the opposition, anti-flag, and rebellious spirit of the Jeju islanders as the image source, this three-dimensional work is a memorial work using camellia, a symbol of the 4.3 Incident, as its motif. The candy made from camellia oil produced in the Goto Islands of Nagasaki was used as the material for the work, and the pattern of the falling candy was naturally reversed when the melted candy dripped from the top of the structure with numerous holes in it. The candy suggests the situation of U.S. military control at the time.



Crowdfunding for Cheju Island Project 2016

Exhibition Related Project 2022

“Fujiwara’s Body Rust Discharge Workshop” is an art project that revolves around “rust” inside the body.* Illustrated are various

episodes around the participants, related to what I call ”the body discharging rust,” using actual rust resulting from a natural chemical reaction. The finished works, the participants keep as warnings to themselves.

* The original Japanese name of this project refers to a Japanese idiom that literally translates as “rust coming out of the body,” meaning “to take the consequences of one’s own deeds” or “to reap what one has sown.” “Rust” in this case can thus be understood as “residue” that amasses in oneself as a result of previous actions.

                                                                                                                                             Translated by Andreas Stuhlmann

「ふじわら 身から出たさび科」とは自身の「身から出たさび」を吐き出す藤原勇輝によるアートプロジェクト。




▼Japan version(Workshop)

▼Jeju island/Korea version

Umbilical Cord Accessory Project

Umbilical Cord Accessory


Real umbilical cords

Umbilical Cord Accessory
Silver925, hook, pin
W10 D10 H130 mm
W10 D10 H50 mm

This project started off from a request from a female friend, who asked me if I could make her child’s umbilical cord into a silver accessory. An umbilical cord is a mysterious and somewhat grotesque object (organ) that represents the connection between mother and child. The habit to preserve it carefully seems to be rather unusual even in a global context. This participatory art project aims to examine the increasingly diluted indigenous Japanese culture and mentality, by decorating the body once again with the same umbilical cord that was once cut off from it.

Translated by Andreas Stuhlmann


Washi Mask Project 2020

Washi Mask Project 2020
Video 7'20"(©️Hayashi Yuki )

Washi mask project: Japanese paper masks interwoven with plague themed literary texts

In March 2020, the unavailability of face masks from both physical and online stores inspired many people – including myself – to create their own masks. That was also when someone at H.Factory approached me with the suggestion to produce masks from Japanese washi paper.
In the process of gathering information, I found inspiration in Albert Camus’s The Pest (1947), a novel in which the author illustrates his personal experience with the French Resistance movement he was involved in, while at once battling the plague that was spreading in Medieval Europe at the time. The concept for this work developed from my discovery that those events coincided with the history of Japanese “balloon bombs” (the balloons for which were made of washi paper) that were used toward the end of the war.
Viruses and wars confront us with aspects of life and death. The idea behind this mid-/long-term art project is to carefully think about “how we can survive in the future,” through the act of producing and wearing masks made of washi paper, as long as the current virus is plaguing us.

Translated by Andreas Stuhlmann

和紙マスクプロジェクト —ペスト文学を織り交ぜた和紙マスク—

2020 年3 月現在、店頭やネットでマスクを買うことが難しくなり自作のマスクを身につける人が増えた。そして、私もその1 人であった。そんな中、H.Factory から和紙を使ったマスクを作ってはという提案を頂いた。
情報を収集していく中で、アルベール・カミュの1947 年に出版された小説「ペスト」に着想を得た。中世ヨーロッパで世界的に流行した感染症ペストと自らの大戦中のレジスタンス活動の経験を重ね合わせたとされる小説と、終戦間近に使用された風船爆弾(気球部分が和紙)の歴史とが同じ時間軸を共有する事に気付き、そこを出発点にコンセプトを構築していった。

BunnyLingo Project

BunnyLingo Earring
Bunnylingo Pair pendant

Since 2010
Pair pendant

The BunnyLingo brand offers a range of Fujiwara-produced goods.
Inspired by Claude Levi-Strauss’s text “The White Hare of Inaba,” I mixed parts of English and Japanese to create the brand name “BunnyLingo.”
It combines the image of a hare that, according to a Japanese myth, got its fur ripped off by sharks for deceiving them, and the custom of cutting the peel of an apple – ringo (or lingo) in Japanese – in the shape of rabbit ears as a lunch box garnish.

Translated by Andreas Stuhlmann

レヴィ= ストロースの「因幡の白兎」への言及に着想を得て、英語と日本語を組み合わせた造語「BunnyLingo」をブランド名とした。