Meiro Koizumi, We Mourn The Dead of the Future, 2019, five-channel video installation, color, sound, 49 minutes 51 seconds. Installation view.

Meiro Koizumi

Annet Gelink Gallery

For his fifth solo exhibition at Annet Gelink Gallery in Amsterdam, Meiro Koizumi continued the trajectory of his previous work, forcing viewers to reckon with their own personal value systems by setting individual ethics against the moral codes of the state and/or our collective culture(s). At the entrance to the show, the charcoal drawing Fog #3, 2019, greeted visitors with its unsettling depiction of a woman beaming serenely outward while holding something smoldering in her bare hands. On an adjacent wall was House, 2019, a trio of small frames, each containing nearly identical typed accounts of a Japanese soldier tasked with committing horrific acts while fighting in the Second Sino-Japanese War of 1937–45. While all three shared the same title, “A House,” each tale had a slightly different ending, though none left very much room for hope. The stage was set.

The rest of the gallery was

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