Disclaimer : This blog post and the opinions expressed are my own and do not necessarily represent the views of my employer.
The phrase “From the River to the Sea” has been widely used by pro-Palestinian demonstrators. It took some time for governments, the media, and the wider public to understand that it is, in fact, a call to destroy Israel. It is not a call for peace and freedom, but a call to destroy the State of Israel. As such, some countries consider it hate speech and prosecute it accordingly (Germany and Australia—specifically Queensland—being recent examples).
You can imagine my surprise when I saw this art piece by “Multiple Spirits.” It prominently features the Japanese text 「川から海へ」 (“From the River to the Sea”), the headline “Cannot Forgive Massacre,” and a watermelon (a well-known pro-Palestinian symbol). Don’t you find it strange that the same artwork appears to call for the murder/displacement of all Jews in Israel while simultaneously claiming it “cannot forgive [a] massacre”?
You can read about the zine and the artists on the Mori Museum X Account:
Multiple Spirits Formed 2018 in Vienna; based in Vienna and Tokyo Multiple Spirits is a queer feminist art zine press and research platform founded in 2018 by Maruyama Mika and Endo Mai. The duo’s practice centers on reimagining the historical genealogies of queer feminism and dismantling historically constructed notions of identity. Its activity extends to exhibitions, lectures, and workshops, cultivating alternative modes of knowledge and community. Multiple Spirits’ zines have developed languages aligned with lived realities, linking girl’s culture and queer culture across Japan and beyond. Through interviews, collaborations, and exhibitions, the duo have expanded beyond press format and gender themes to interrogate the very forms of creation. The project insists on intersectionality, addressing overlapping systems of discrimination and colonialism rather than isolating gender or sexuality as single issues. This presentation is tied to the forthcoming zine “The Dungeon for the Shade of the Living Light,” which explores the metaphor of the “vine-like archive.” Here, the vines reflect how knowledge tangles across boundaries, shifts meaning, and enables queer reading resisting linear time. This installation includes cyanotype-printed and bundle-dye textiles, and archival materials encompassing representations of the “New Woman” across Asian cities, revealing a hidden history of feminist discourse in the region.
Photo from the” “Multiple spirit” X Account:
https://x.com/marusupi_/status/2008737299023188444/photo/1
Obviously, artists are free to express whatever they want, no matter how controversial. My biggest problem, however, is with the curator, the museum, and the sponsors of this exhibition. I am certain the curator understood the meaning, the museum personnel approved it, and they may even have thought it was “important” to display.
Exhibition Grants were provided by :
- Embassy of the Kingdom of the Netherlands
- Mondriaan Fund
- OCA – Office for Contemporary Art Norway
- Austrian Federal Ministry for Housing, Arts, Culture, Media and Sport
Corporate sponsors:
- Anthropic
- OBAYASHI CORPORATION
- Sanyo Trading Co., Ltd.
- Contemporary Art Foundation
I wonder whether the sponsors and grant providers are aware of this message and whether they agree with it.
By the way, Anthropic publishes the following about Claude on its website. I wonder if this art piece qualifies as “broadly ethical”:
Broadly ethical: Having good personal values, being honest, and avoiding actions that are inappropriately dangerous or harmful.
There is no clear public email for the museum, so I left a message via the contact form. I have not received a reply yet. I will update this post if I do—and I will definitely not visit the museum until they clarify their position on this issue.
Update:
Response from Mori Museum:
Thank you for taking the time to contact us.
Since its founding, Mori Art Museum has pursued its mission as a space for encountering the world’s diverse cultures, histories, and values through artistic practice — a place that fosters multifaceted dialogue and understanding. The presentation of works at Mori Art Museum does not imply endorsement of any particular political position expressed within individual works.
We recognize that maintaining neutrality in today’s increasingly complex global landscape is no easy task. It is precisely this difficulty that we continue to face, as we remain committed to fulfilling our role as a space for dialogue.
We are deeply grateful for taking the time to share your thoughts with us.
Mori Art Museum
My response, which has not changed:
I fully support art and fostering multifaceted dialogue. But I am quite certain Mori museum will not display an art piece calling for a destruction of another country, race. As such their response is far from satisfying.